OTH
JAMES HOLMES, M. Boe,. Arts,
w
LIBRARY
^nss^»%..
1895
THE "BURNLEY" DOBBY
WITH **LENO" MOTION.
This machine is what is known as a "Centre Lift" Dobby, and
has been specially designed to ensure certainty of action and great
durability.
It is a machine specially calculated to do heavy work, although at the
same time it has proved itself exceptionally suitable for light work, such as
" Leno " and "Gauze" cloths.
It is suppHed either with " Straight" or "Centre" Lift, and can be
supplied with a number of adaptations for special work of various descrip-
tions, where required.
For Prices and Particulars apply:
LUPTON & PLACE, Machinists,
Sandygate, BURNLEY.
Makers also of a "Single Lift Card Dobby" for Leno and other
fancy work; the "Climax" "Keighley" Dobby; " Under-
motions " ; &c., &c.
BY THE SAME AUTHOR.
Calculations in Cotton Weaving.
Coiitaiuing calculations relating to Yarns, Healds, and all tlie Machines
connected with Cotton Manufacture. Answers to all calculations, questions
set at the City and Guilds of London, and Lancashire and Cheshire
Examinations, from 1890 to present date.
The Textile Manufacturer says: — " Mr. Holmes's Book ia a welcome addition to
the few already existing dealing with Textile Calculations, and in many respects it is
a distinct improvement on any work of the kind with which we are acquainted."
Price, Two Shilling's and Sixpence, Nett.
The Practical Student's Note Book.
Containing the latest Syllabuses (1897 and 1898) of The City and Guilds of
London Institutes, and The Lancashire and Cheshire Institutes. Also 160
questions bearing chiefly on the working of the machinery in the Burnley,
Nelson, and Accrington Technical Schools, with ruled paper for notes, 192
pages inclusive.
(In ordering state whether for Burnley, Nelson or Accrington.)
Price, Eig-htpence, Nett.
Textile Designing Brought to a Focus.
This work consists of a neat folded card in cloth binding, containing a
photographic reproduction by Morgan & Kidd, of a large number of patterns.
The object is to show how simple patterns are made, a brief explanation is
given.
Price, One Shilling: and Twopence, Nett.
The Practical Student*s Design Book.
Containing Design Paper and Spaces for Samples of Cloth, such as Width,
Length, Reed, Pick, Twist, Weft, and Knitter's Instructions.
Price, Sixpence, Nett.
L UPTON BROS.. Publishers,
Manchester Road and Market Hall, BURNLEY.
LIBRARY
^^SSACHt,,^^
1895
Cotton Cloth
Designing,
BY
JAMES HOLMES, M. Soc. ARTS,
Author of " COTTON Weaving Calculations," &c.
1ST Honours " cotton MANUFACTURE," City and Guilds
of London Institutes.
Lecturer in Weaving, Burnley, Nelson, and Accrington
Technical Schools.
Published by
LUPTON BROS., BURNLEY.
PRINTED BY
LUPTON BROS.,
BURNLEY.
To
Cornelius Morrell Foden, Esq., J. P.,
Honorary Secretary for more than a Quarter of a Century to the
Burnley Science, Art, and Technical School.
Sir,
Permit me to dedicate this work to you, as
one deeply interested in "Technical Education;" may
you long live in health to enjoy the pleasant recollections
of a life well spent is the wish of
Yours respectfully,
THE AUTHOR.
f%
api
eSB
Digitized by the Internet Archive
in 2010 with funding from
Boston Library Consortium IVIember Libraries
http://www.archive.org/details/cottonclothdesigOOholm
PREFACE.
THE object of this work is to explain the Principles of
Designing for simple woven patterns: no attempt has
been made to deal with Jacquard designing, though a
few of the patterns come under that head.
My thanks are due to my esteemed friend, MR. FREDRICK
Heap, Burnley, for producing many of the woven samples of
cloth ; the double cloth example has been kindly provided by
the well-known firm of Messrs. BARLOW & JONES, Manchester
and Bolton.
My thanks are also due to "THE STAR BLEACHING
COMPANY,'' Horwich, for bleaching and finishing the samples
of cloth.
Burnley,
June 2otk, 1896. J.H.
-x^x. INDEX. K^y^
PAGE
Basket weave ... ...
.. 10
Broken twills
.. 25
Catgut
• 71
Checks, warp and weft
.. 31
Combination twills ...
. 28
Corduroy ...
•■ 55
Corkscrew twills
. 28
Curtains
• 44
Double Cloth
• 37
„ Bag
• 37
,, ,, piques...
• 45
,, ,, quiltings ... ... :
• 45
,, ,, quiltings
• 49
,, ,, stitching two cloths together
. 40
,, ,, to open out to double the width .
• 39
,, ,, two colours of warp and weft
• 43
,, ,, welts ...
• 45
Double plain cloth
• 41
Direction of the line of twill ...
II
PAGE
Doups, bottom
62
Doup, enlarged pattern with one
69
Doup heald
61
Doups, top
68
Extra warp figuring ...
57
Extra weft ,,
55
Fancy twills
27
Figuring with extra warp
57
Figuring with extra warp and extra weft
59
Figuring with extra weft
55
Figured velvets
53
Gauze
62
Gauze and leno
60
,, ,, complete crossing
71
,, ,, lappet effects
70
Gauze, imitation
29
Granite weaves
27
Hangings ...
44
Heald knitters instructions
77
Honeycombs
29
Imitation gauze
29
Increasing the size of the pattern by an alteration
in the looming ...
16
Instructions to heald knitters ...
77
Jean
14
Knitter's instructions, leno
66
Lappet, Scotch
73
,, weaving
72
,, pegged lattice
74
Leno
60
Leno mock ...
...
... 29
,, Knitter's
instructions
... 66
,, with one
doup ..
... 64
,, witli two doups
... 65
Matelasses
...
.... 49
Mock leno
...
... 29
Patterns from
sketches
... 76
Pile, terry ...
...
... 53
,, warp...
...
... 51
Plain cloth
...
... 9
Point draft...
...
... 15
PLATE
Sample Cloths
, — Corduroy
... 24
»> M
Four end twill
... 3
J} > >
Leno
... 34
y > > )
Pique
... 21
> > > )
Satin
... 9
>> > >
Spot figures ...
... 7
> J > >
Stripes
... 5
J > >)
Three end twill
... 3
'} > >
Warp and weft checks...
... 13
PAGE
Satins
...
.,. 23
,, System
of construction...
... 23
Scotch lappet
...
... 73
Serges
...
... II
Sketch, pattern from
... 76
Spot figures
...
... 19
,, ,, arranged in satin order
... 21
,, ,, increasing the size of
... 19
Stripes
Swivel weaving
Tapestries ...
Terrycloth ...
Three ply cloth
Top doups ...
Twills
,, broken
,, combination
,, corkscrew
Velvets
figured
Velveteens ...
Warp backed cloths ...
Warp and weft checks
Warp pile cloths
Waves down the piece
,, across the piece
Weft backed cloths
Weft pile
PAGE
75
44
53
43
68
9
25
28
28
53
55
53
35
31
51
1 1
•5
33
53
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13
14-
PLAIN & TWILLS.— Plate i.
=F a piece of plain cloth is examined througii a
magnifying glass it will appear as in the
lower part of Fig i, the vertical lines repre-
senting the warp ends, and the horizontal lines picks of
weft ; it would take up a considerable length of time
to illustrate the making of different figured cloths in
this way, so that instead of drawing each pattern out,
showing the interlacing of each warp and weft thread,
design paper is used, which serves the purpose more
effectually, a small piece of design paper is shown at
Fig 2, it is paper ruled into small squares, and thicker
lines divide the smaller squares into groups of 8 x 8.
A row of squares across the paper represents a pick of
weft, a row of squares down the paper represents a
warp end. Whenever a warp end is lifted a. small
square is filled in ; referring to Fig i, above the
interlacing lines which represent the warp and weft
threads is a piece of design paper much enlarged, the
squares are filled in and left blank to suit the pattern
below it ; taking the first end of the pattern, it is
lifted on the first and third picks, above this end the
first and third squares are filled in, the second end is
lifted on the second and fourth picks, above this end
the second and fourth squares are filled in, the third
end is lifted the same as the first, therefore the third
line of squares is filled in the same as the first, the
fourth end is lifted like the second, and the fourth row
of squares is filled in the same as the second ; the
horizontal lines above the design paper shows the
healds upon which the respective threads are drawn,
the first end is drawn on the first heald, the second
end on the third heald, the third on, the second, and
10
the fourth end on the fourth heald; four healds are
given here but two healds would be quite sufficient to
weave this cloth, the first and second healds are tied
together and work as one, the third and fourth are tied
together and work as one, so that practically only two
healds are used, the custom of using four healds
instead of two, is to prevent the over-crowding of the
stitches on the heald staves ; Fig i is shown on ordinary
size design paper at Fig 3, the looming is indicated by
means of the crosses in the squares above the pattern,
this is a more convenient method than using lines ;
Fig 4 is the same pattern using two healds only.
Fig 5 illustrates a basket weave ; the lower part
shows the interlacing of the warp and weft threads,
the upper part the pattern on design paper along with
the looming, the first and second ends are weaving
alike these are drawn on the first heald, the third and
fourth ends are alike, they are both drawn on the
second heald, the pattern on design paper with looming
is given at Fig 6.
Fig 7 illustrates a simple three-end twill, two
ends down and one up on each pick ; each thread can
be followed and the manner in which the fiUed-in
square is made to correspond with the lifting of the end ;
Fig8 isthesamepattern on design paper, with looming.
Fig 9 illustrates a four-end twill, two ends up
and two ends down on each pick, the lower part gives
an enlarged view of the warp and weft threads ; with
pattern on design paper and looming above. Fig 10
■is the pattern with looming on design paper.
Fig II gives four repeats of a four-end twill.
Fig 12 gives four repeats of a five-end twill. Fig 13,
seven-end twill. Fig 14, eight-end twill.
Plate No. 2.
II
TWILLS & WAVES DOWN THE PIECE.— Plate 2.
Twills can be made on any number of healds
from three upwards ; in regular twills the same
number of healds are lifted on each pick, the filled-in
squares or rising threads advancing one to the right or
one to the left on each pick, depending upon the
direction the twill is running ; a number of ends lifted
on each pick in regular order as shown at Fig 15
produces a diagonal line up the piece from right to
left, there are ten ends in the pattern and as every
end is weaving different to another ten separate healds
are required to produce the pattern, two lines of twill
will show in this case, one a broad one, made by four
ends lifting together on each pick, the narrow line of
twill made by the lifting of the single end ; the looming
is straight through on ten healds, this twill if
stated in words would be 4 up, 2 down, i up, and 3
down, the pegging or lifting plan is the pattern itself ;
greater the number of healds used and greater the
number of patterns that can be made, other twills on
ten healds can be made thus, 5 up, 5 down ; 3 up, 2
down, 2 up, 3 down ; 4 up, 6 down, and so on.
Fig i6isa 12-endtwillshowingtwo lines of twill.
Fig 17, another twill made on 16 healds.
In the cotton trade a large number of twills are
made with the direction of the twill running up the
piece from right to left. When twills are made on
more than seven staves they are known as serges.
Fig 18 illustrates an 8-end twill, 4 up, 4 down,
with the direction of the twill running up the piece
from left to right, this example is reversible, as both
back and face will be the same pattern.
Fig 19 is a twill made on 13 staves.
iH^U'U II
12
Fig 20, a twill sliowing three lines of twill, made
on 14 staves ; a pattern broken up the same as this one,
does not show up so well as Fig 17.
Waves down the piece can be made from any
regular twill without increasing the number of staves,
by making an alteration in the lifting plan or pegging.
Fig 21 is a wave down the piece, the pattern is
several times repeated ; one repeat of the pattern is
shown at Fig 22, which is not only the pattern but the
pegging plan as well, the foundation of the pattern is a
4-end twill, two up and two down ; after running the
pattern for four picks, from left to right up the piece,
the direction of the twill is reversed on the fourth pick,
the twill running in the opposite direction, the fourth
pick is not repeated as this would give two picks in one
shed, so that all patterns made after this style will
contain double the number of picks less two to what
there are in the original twill from which they are made.
Fig 23 is another example several times repeated,
made from the 6-end twill, 3 up, 3 down, one repeat of
the pattern which is also the lifting plan is given at Fig 24.
Fig 25 is made from the 8-end twill, 4 down, 4
up ; the pattern is several times repeated, to show
more fully its appearance in the cloth. The complete
pattern and pegging plan which stands on 8 ends and
14 picks is given in Fig 26.
Any twill given in previous examples can be
treated in the same manner, and much variety of
patterns obtained in this way.
Another method allowing plenty of scope for
variety of pattern is to use say 14 or 16 staves, run
narrow waves of twill down the piece, and fill in the
intervening space with some small figure or broken twills.
Plate 3.
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13
SAMPl.E CLOTHS, TWILLS— Plate 3.
Fig. 27 is a well known cloth, a 4-end twill 2
up 2 down on each pick, the line of twill running up
the piece from right to left, the pattern on design
paper several times repeated is shown at Fig. 28, the
looming straight draft is shown above the pattern.
In Fig, 29 one repeat of the pattern is given in red ;
above the pattern the crosses represent the looming,
the black filled in squares represent the lifting plan ;
obtained in this way, the first stave is lifted on the
first and fourth picks, therefore the first and fourth
squares are filled in black, the second stave is lifted on
the third and fourth picks, therefore the third and
fourth squares on the same line as the cross are filled
in black, the third stave is lifted on picks two and
three, and the fourth stave is up on the first and
second picks ; this matter will be understood mqre
fully by referring to Fig. 30, where the ends are
shown drawn through the healds in the order i, 3, 2
and 4, or in the same order as in plain cloth weaving ;
this method is generally employed, as it enables the
same set of healds to be used for weaving plain cloth
at any time, by tying the ist and 2nd staves together
and allowing them to work as one, tying the 3rd and
4th together and allowing them also to work as one, a
plain tappet being substituted for the twill tappet, in
Fig. 30 the lines above the pattern indicate healds,
the small dash indicates upon which heald each end
is drawn ; for indicating the lifting plan, four lines
are drawn at right angles to the lines which indicate
the healds, these lines represent the four picks, and
the lifting of any heald on any pick is indicated by a
cross ; taking the first stave it is lifted on the ist and
14
4th pick, crosses are placed to indicate this, the second
stave is lifted on the 2nd and 3rd picks crosses indicate
this, the third stave is lifted on the 3rd and 4th pick as
shown by the crosses, the fourth stave is lifted on the
I stand 2nd pick, the crosses show this, so that the
order of lifting is —
First pick, ist and 4th healds up.
Second ,, 2nd ,, 4th ,, ,,
Third ,, 2nd ,, 3rd ,,
Fourth ,, ist ,, 3rd ,, ,,
Fig. 31 gives the same pattern showing design,
looming, and lifting plan, on design paper. Fig. 32
is a 3-end twill cloth 2 down i up, the other side of
the cloth is the right side, they are woven the wrong
side up, so that one out of the three healds are lifted on
each pick, if they are woven the other side up, the lifting
is 2 up and i down on each pick ; these cloths are
known in the trade as " Jeans," and are woven with
tappets, generally to these, or somewhat similar,
particulars 3oin. wide go yds., 27 by 16 26s Twist,
32s Weft. The pattern several times repeated with
looming is given at Fig. 33 ; if three staves are used
to weave the cloth, the design, looming, and lifting is
given at Fig. 34, the red squares indicating the design,
the crosses the looming, and the black squares the
lifting plan ; in using three staves the stitches
are very close together, so that it is customary
to use six staves, tied together in pairs, the looming
being i, 3, 5, 2, 4 and 6, as shown at Fig. 35 ; or as
shown on design paper at Fig. 36, red squares indicate
the design, crosses looming, and black squares lifting
plan, so that the order of lifting is —
First pick ist and 2nd healds up.
Second ,, 3rd ,, 4th ,, ,,
Third ,, 5th ,, 6th
Plate 4.
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39
15
WAVES ACROSS THE PIECE.— Plate 4.
hi all the examples previously given the looming
is straight through from front to back, and the number of
ends in one complete pattern is equal to the number of
staves used ; with making alterations in the looming
the size of the pattern can be increased to almost any
amount, without using anymore staves for the purpose,
waves across the piece are made from twills, in an
endless variety of ways, by drawing the ends through
the healds point draft, commencing on the front stave
and going to the back, reversing on the back stave and
coming to the front, and so on all the way across the warp.
Fig 37 is an example made in this way, the pattern is
repeated several times, the basis of the pattern is the
nine-end twill, 3 up, 2 down, i up, 3 down, in the first
nine ends of the pattern, no two ends are alike,
therefore nine separate healds are required as indicated
by the crosses ; but if any two ends in a pattern are
weaving alike, they can be placed on the same stave ;
in Fig 37 the loth end is weaving the same as the 8th,
it is therefore drawn on the 8th stave, the other ends
which are alike in one repeat of the pattern are : —
The nth and 7th drawn on the 7th stave
I2th ..6th .. .. 6th
,, 13th ,, 5th
„ 5th ,
,, 14th ,, 4th
4th ,
,, 15th ,, 3rd
,, 3rd ,
,, i6th ,, 2nd
,, 2nd ,
The complete pattern stands on 9 picks and 16
ends, the pegging plan is shown in black, number one
being the first pick, the ist, 2nd, 3rd, and 6th staves
being lifted ; the second pick the 2nd, 3rd, 4th, and 7th
staves are lifted.
In Fig 37 the depth of the wave before the twill
turns in the opposite direction is nine picks ; the depth of
i6
the wave can be increased by altering the looming as
shown at Fig 38, the ends are drawn in from front to
back three times and then three times from back to
front ; the basis of this pattern is the 6-end twill, 3 up, 3
down, and if the looming was point draft after the style
of Fig 37, the depth of the wave would be 6 picks, but as
it is, the depth of the wave before turning is 18 picks, and
the complete pattern stands on 34 ends, the pegging
plan is shown in black ; following out this idea, the
number of times through in the looming before turning
will determine the depth of the wave, multiplying the
number of times through by the staves used, gives the
number of picks in the depth of the wave, in Fig 37
where 9 staves are used if the looming is altered to 4
times through from front to back then four times
through from back to front, the depth of the wave will
be increased to 36 picks, and the number of ends one
complete pattern will occupy will be 70, the pegging
plan remaining the same in both cases. In Fig 39 the
waves are not regular, one of them is deeper than the
other, but still giving a pleasing effect, this is brought
about by the looming only, which is somewhat irregular ;
when any change takes place in the looming a
corresponding change takes place in the pattern, the
basis of the pattern is the lo-end twill, i up, i down,
3 up, 2 down, I up, 2 down, the first ten ends of the
pattern are all different, and the ends are drawn
through the healds from one to ten, the looming then
comes from 10 to 5, the direction of the twill lines
change for five picks, the looming is then from 5 to 10,
the direction of the twill changes again for five picks,
the looming is then from 10 to 2, and a like change
takes place in the pattern, the complete pattern stands
on 10 picks and 28 ends.
Plate 5.
17
STRIPES, SAMPLES OF CLOTHS —Plate 5.
Stripes are made in a great variety of styles,
a fruitful source is shown at Fig 40, there are 16 ends
in the pattern, which consists of two stripes of eight
ends each, the design is given at Fig 41, in red, the
crosses indicate the looming, which is somewhat
irregular, but not a difficult one for either the loomer or
weaver to follow, the black squares gives the lifting
plan. The basis of the pattern is the four-end twill, 2
up, 2 down ; the width of the stripes can be increased
to almost any extent without increasing the number of
staves, or altering the lifting plan, the present looming
is twice through from front to back, twice through from
back to front (irregular), the width of each stripe
standing on eight ends, if the looming is altered to six
times through from front to back, six times through
from back to front (irregular), the width of each stripe
will be increased to twenty-four ends, and so on in like
manner multiplying the number of staves used by the
number of times through in the looming, to obtain the
number of ends each stripe will occupy.
Fig 42 gives another sample of cloth, which gives
a bolder effect than Fig 40. In one stripe there is a
preponderance of warp, in the other stripe a
preponderance of weft, one stripe showing the reverse
of the other ; the design is shown at Fig 43, the crosses
indicate the looming, and black the lifting plan, the
basis of the pattern is the five-end twill, 4 down, i up
on one stripe, 4 up and i down on the other ; the two
stripes occupy twenty ends and five picks to the round
in one complete pattern ; the width of the stripes can
be increased in the same manner as in the previous
example, by an alteration in the looming, the lifting
plan to remain the same.
In the making of stripe cloths, with one warp, it
is advisable to let each stripe be of such a weave, that
the same amount of warp is taken up in both ; the cloths
just given are good examples, or twills and satins may be
made to go well together, or twills and spots made from
the same twill, or waves across and down the piece,
or satin stripes one to show warp and the other to
show weft go well together ; in plain and satin stripes
the plain weave takes up more warp yarn on account
of the greater number of intersections, the tendency
will be for the warp yarn forming the satin stripe to be
more or less slack ; but still, nearly all sorts of
combinations of weaves are used in the making of
stripes, using two or more beams.
Fig 44 gives a pleasing effect and illustrates
clearly what has been said In respect to using weaves
which take up the same amount of warp, the basis of
the pattern is the five-end twill, 3 down, 2 up, in one
part, 3 up, 2 down in the other part, the pattern is
twice repeated in the ends, one complete pattern stands
on twelve ends and five picks, if the stripes are made
about half an inch wide, the pattern shows up much
better, the black squares gives the lifting plan number
one pick to go in first when,
the ist, 2nd, 7th and 8th staves are lifted.
Second pick 2nd, 3rd, 6th, 7th, & 8th ,, ,,
Third ,, 3rd, 4th, 6th and 7th ,, ,,
Fourth ,, 4th, 5th, and 6th ,, ,,
Fifth ,, ist, 5th, and 8th ,, ,,
Plate 6.
4-9
19
SPOT FIGURES.— Plate 6.
Spot figures can be made from twills by making
an alteration in the looming and lifting.
Fig 45 is a spot figure made from the six-end
twill 2 up 2 down i up i down, the twill is first made
into a wave down the piece, and the ends drawn in
point draft, the result is the spot figure 45, which is
several times repeated ; looking at the pattern it will
be seen that the first six ends are all weaving different
to each other, therefore six separate healds are
required, the seventh end is weaving like the fifth ;
these two ends are therefore drawn on the fifth heald,
the eight and fourth ends are alike, these two are
drawn on the fourth heald, the ninth and third ends
are alike, these are drawn on the second heald. The
complete pattern stands on 10 ends and 10 picks;
the lifting plan, which consists of the lifting of each
separate heald, is shown by the black squares, number
one pick to lead off. Any regular twill can be treated
in the same way, and an immense variety of patterns
obtained; so long as the looming is point draft, the
size of the spot will be limited to double the number
of ends and picks less two to what there are in the
original twill from which they are made, in Fig 45
made from a six-end twill, the number of ends and
picks in the complete pattern equals ten, or twice six
less two equals ten.
The spot figure can be increased in size to
almost any extent without increasing the number of
healds by altering the looming and pegging as shown
at Fig. 46 ; the basis of this pattern is the four-end twill
2 up, 2 down, the looming is three times through from
20
front to back, and three times through from back
to front, the complete pattern standing on twenty-
two ends and twenty-two picks, the lifting plan as
shown by the black squares, which is the lifting of the
first four ends, for twenty-two picks.
Fig. 47 is a spot made from the five-end twill,
2 up, 3 down, with a slight addition to fill up the
centre of one of the spots, this prevents the weft
floating over seven ends, and adds a little to the
variety of the pattern, the lifting plan is shown in black.
Fig. 48 is a very common small spot figure
standing on six ends and six picks, it is given to
illustrate the looming ; it is advisable on the score of
economy to weave a pattern on the least number of
staves possible, but at the same time an irregular
looming involves more time in looming the warp to
commence with, and more trouble to the weaver when
taking up broken ends, so that it is advisable to have
the looming as regular as possible ; on this account, in
Fig 48 the pattern with the looming as shown above
the design, requires three staves only ; the lifting is
shown in black ; it would be better in this case to
use four healds, and have the looming point draft, i,
2, 3, 4, 3, 2, I.
Fig. 49 is a small spot figure on eight staves,
the spots have an alternate arrangement, bounded
with small twill lines, the looming and lifting is shown
in the usual way ; the twill line can be made thicker,
or the spot assume a different shape so long as one
half of the spot is like the other half ; the number of
patterns made in this way, using different number
of staves is almost illimitable.
Plate 7.
21
SPOT FIGURES. SAMPLES OF CLOTH.
Plates 7 and 8.
Fig. 50 gives a sample of cloth, a combination
made from a small spot figure on nine staves, and a
small corded weave on four staves ; Fig. 51 gives the
design with looming and lifting plan, the full width of
the stripes are not given, but sufficient to show the
repeat of the pattern ; the small plain spot bounded
with twill lines is intended to be plain throughout.
This method of combining two different weaves is a
fruitful source for new patterns.
Fig. 52 gives a small spot figure arranged in
alternate order on a plain ground'; Fig. 53 gives the
design looming and lifting plan, using eleven staves
with twenty-four picks to the round.
Spot figures after the style of Fig. 52 may be
distributed over the piece in satin order ; Fig. 54 shows
a small spot figure which is given a five-end satin
arrangement, the order of distribution being i, 3,
5, 2, and 4, the five figures standing on 25 ends
and 25 picks. The space is divided into small groups of
5 by 5, bounded by the red lines ; a similar point is
found in each red square for the centre of each figure
as indicated by the black crosses.
To find the maximum size of figure which can be
used so that one figure will not touch another, where
a number of them are arranged in satin order, taking
for example Fig. 54 the number of small squares in 25
by 25 equals 625, and five figure are required to stand
on this space; the number of spaces for each figure will
equal 625 divided by 5 equals 125 ; to find the squared
space 125 small squares occupy, extract the square
22
root which equals about ii, therefore the maximum
sized figure which can be used will be one that stands
on II by II small squares ; this would allow no space
for ground weave to surround the figures ; after finding
the largest figure which can be used, then any smaller
figures may be used, depending upon the amount of
ground required ; in Fig. 54 the size of the figure, is 9
by 9, and this allows sufficient ground to make the
pattern look effective, these spots can be surrounded
with a ground weave of any style so long as the spot
patterns and the ground weave both repeat on the
same number of ends and picks.
Figs- 55, 56, 57 and 58 are other styles of all
over spot patterns made with the looming point draft.
They are given as suggestions for a large number of
patterns which can be made on the same lines ; the
lifting plan in each case is one half the pattern.
Fig. 55 stands on 14 ends and 14 picks, the
lifting plan is the first 8 ends for 14 picks, 8 staves
required.
Fig, 56 occupies 16 ends and 16 picks, the lifting
plan being the first 9 ends for 16 picks, 9 staves
required.
Fig. 57 stands on 26 ends and 26 picks, the
lifting is the first 14 ends for 26 picks; 14 staves
required.
Fig. 58 occupies 22 ends, 22 picks, the lifting
plan is the first 12 ends for 12 picks; 12 staves
required.
The looming, in each of the four examples
given is point draft.
Plate 8.
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Plate 9.
23
SATINS— Plate 9^
These cloths are made from twills, the object
aimed at being to produce a cloth with a greater
proportion of the weft thrown to the face, in such a
manner that no distinct line of twill can be seen, the
points of intersection are not in consecutive order as in
twills, but distributed over the pattern, so that the weft
of one pick covers up the warp intersections of the
previous pick.
The rules to be observed in finding the order of
lifting for any satin are : —
ist. — Take for a basis any number which
is not a measure of the whole number of healds
employed, thus, i, 3, 5, and 7 are numbers which
are not a measure of 8 ; but 2 and 4 are measures
of 8. Number i or the number one less than the
number of healds employed cannot be taken, they
would give twills.
2nd. — Let this number be such that it cannot
be divided by any number which is a measure of
the whole number employed, thus taking eight
healds, 6 is not a measure of 8 but it is a number
which can be divided by 2, and 2 is a measure of
8, so that6 would not do for a basis for an 8-end satin.
3rd. — In placing the pattern on design paper
mark the ist square on the ist pick, then miss as
many squares less one as the number taken for a
basis and mark that square on the next pick, and
so on until every end and pick of the pattern is
taken up.
Fig. 59 illustrates the order of lifting for a 5-end
satin with a basis of 2 ; this number fulfils the
conditions named above for five healds.
24
First pick, lift tlie first end.
Second „ miss one, lift the Third end.
Third ,, ,, ,, ,, Fifth ,,
Fourth ,, ,, ,, ,, Second ,,
Fifth ,, ,, ,, ,, Fourth „
The pattern on design paper is shown at Fig. 60.
Fig. 61 is a sample of cloth of a 5-end satin
weave, the order of lifting is i, 4, 2, 5, 3, as shown on
design paper at Fig. 62, with a basis of three, the
looming and lifting plan is given ; these two examples
are generally woven with tappets, the ends drawn in
straight over, and the order of lifting either i, 3, 5, 2, 4,
or I, 4, 2, 5, 3, but an ordinary twill tappet lifting,
Fig. 63, 1,2, 3, 4, 5, will make the same cloth if the
ends are drawn in i, 3, 5, 2, 4 or i, 4, 2, 5, 3,
according to which pattern it is desired to weave,
hi all satins the pattern is the lifting plan if the
ends are drawn in straight through, at all times the
lifting plan and looming are exchangeable, if the
looming is irregular the lifting is straight, 1,2, 3, 4, 5,
and so on, if the looming is straight the lifting is
irregular as i, 3, 5, and so on.
Satins can be made on any number of staves
above three ; 4 and 6 give what are termed irregular
satins, no number can be obtained for four and six
healds, which fulfil the conditions named.
Fig. 64 gives lifting and pattern for 4-end
satin or satinet; this is irregular.
Fig. 65 illustrates lifting and pattern for 6-end irregular
satin.
Fig. 66 illustrates a 7-end satin with a basis of three.
Fig- 67 ,, 8-end ,,
Fig. 68 ,, 9-end ,, ,, ,, four
Fig. 6g ,, lo-end ,, ,, ,, three
Fig. 70 ,, i6-end ,,
Plate 10.
,25
Fig. 71 illustrates a 9-end warp satin, or the contrary
side of the cloth to Fig. 68.
Fig. 72 illustrates a lo-end warp satin, contrary side of
the cloth to Fig. 6g.
In making satins, generally more ends and picks
per inch are used than in plain cloth.
BROKEN TWILLS.— Plate 10.
Figured effects may be obtained from twills in a
variety of ways. Fig. 73 gives one example using
eight healds, the twill 4 up, 4 down, is allowed to run
for eight picks in one ' .direction, it then breaks off
and runs for eight picks in .the opposite direction, the
pattern is repeated, the crosses indicate the looming
and black squares the lifting plan.
Fig. 74 gives another example on sixteen staves ;
the i6-end twill, 5 up, 3 down, 3 up, 5 down, is run for
eight picks it then breaks off and runs in the
opposite direction for eight picks, 5 down, 3 up, 3 down,
5 up, the same order of interweaving as before,
only showing the contrary side of the cloth, the looming
is straight draft and the pattern the lifting plan.
Fig. 75 is a • pattern derived from the lo-end
twill, 5 up, 5 down, only five threads are taken, it then
breaks off and runs in .the opposite direction, the
complete pattern stands on ten ends and ten picks.
Fig. 76 is another pattern derived from the lo-end
twill, 5 up, 5 down, it takes four complete lo-end
twills arranged in different ways to make the new
pattern, ten staves with the ends drawn in as shown,
the first ten ends for twenty picks is the lifting plan.
26
Fig. j'j is derived from 9-end twill, 5 up, 4 down.
It is considerably altered so as to make a kind of small
spot figure, the complete pattern stands on eighteen
ends and nine picks, if the looming was straight through
from front to back the pegging plan would be the
pattern for nine picks to the round, but this pattern can
be woven on a less number of staves than what there
are in the pattern, the 7th, 8th, and 9th ends in the
pattern are weaving like the i6th, 17th, and i8th, so
that these six ends can be drawn on three staves, the
crosses indicate the looming to weave the pattern on
the least number of staves, and the black squares the
lifting plan.
Fig. 78 is derived from the 5-end twill, 3 up, 2
down, the pattern stands on 14 ends and 10 picks, the
crosses indicate the looming and the black squares the
lifting plan. Crepes or Oatmeal patterns may be
placed under this head, they look best when woven in
coarse yarns, and give as their name implies an effect
as though coarse oatmeal had been scattered on the
face of the cloth, the cloths are largely used for printed
cretonnes, for curtains, and furniture coverings ; the
pattern also forms a useful ground weave for spot
figures, or large patterns when using the jacquard.
Fig. 79 gives an example of an oatmeal pattern
woven on sixteen staves, straight draft, the design
being the lifting plan, the complete pattern requiring 40
picks.
Satins may be called broken twills as it is possible
to weave them by lifting the healds in twill order, the
ends being drawn in irregular or in satin order.
Plate 11.
27
PATTERNS DERIVED FROM SATINS & TWILLS.
Plate II.
A class of small figuring weaves derived from
Satins are known as " Granite Weaves."
Fig. 80, the black dots indicate the lifting for a
5-end satin, and forms the basis for the new pattern,
obtained by adding a red square to every one of the
black ones.
Fig. 81 the black dots give the lifting for a 8-end
satin, one red square added to every black one gives
the new patterns, these two examples are known as
double satins.
Fig. 82 gives two red squares added to every black one.
Fig. 83 ,, three
Fig. 84 ,, four
Fig. 85 is a pattern obtained from the 12-end
satin with a basis of five, three red squares are added
to every one of the black ones.
Fig. 86 is based on the i6-end satin with a basis
of five, with six red squares added.
Fig. 87 is based on the 20-end satin with a basis
of seven with ten red squares added.
hi these examples the black and red squares
indicate warp lifted, just the same as if only one colour
was used.
Fancy Twills are patterns derived from twills;
a main line of twill with few ends up runs up the piece
as shown at Fig. 88, with three ends lifted on each
pick, the space between one line of twill and the repeat
is then filled in with some small figuring weave as
shown, the small figure must be one that contains a
number of picks which is a measure of the number of
picks in the twill, in this example the picks in the twill
are twelve, the number of picks in the figure four, the
28
figure is three times repeated, so that both figure and
twill are complete on twelve picks.
Fig. 89 is based on the i6-end twill, the small
figure repeats on every four picks, the completed
pattern standing on sixteen picks.
Fig. go stands complete on twenty ends and
twenty picks.
Combination Twills, are the result of combining
two twills together for the purpose of producing another
pattern, entirely different to either of the two patterns
used.
Fig. 91 is a lo-end twill.
Fig. 92 is another lo-end twill.
Fig. 93 is a new pattern of twenty picks to the
round obtained by taking one pick from Fig. 91, the
next pick from Fig. 92 and so on until every pick is
taken up. Instead of taking a pick from each pattern,
each alternate pick may be taken as shown at Fig. 94,
only five picks are taken from each pattern, the odd
numbered picks are taken from Fig. 91 and the even
numbered picks from Fig. 92. The two twills may be
arranged end and end, or each alternate ends, or the
ends and picks may be taken in satin or any other
regular order to produce new patterns.
Corkscrew Twills are made by re-arranging the
threads of a regular twill, or combining two regular
twills in such a manner as to bring up the warp well to
the face, to look effective they must contain more
threads than picks per inch.
Fig. 95 is a lo-end twill, 5 up, 5 down.
Fig. 96 is Fig. 95 arranged on the space of
twenty ends, a blank line .of spaces is left between
every pair of ends ; in Fig. 97 the blank spaces are
filled in with the same pattern, commencing from
Plate 12.
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29
the seventh thread, afterwards taking each thread in
rotation, the blan-k spacesof one thread coming opposite
to' the filled-in squares of the next thread. Two
distinct twills each on the same number of ends may
be taken and arranged in the same way. In all the
examples given on plate 1 1 the lifting plans are the
patterns with the ends drawn in straight draft.
HONEYCOMBS & MOCK LENOS.— Plate 12.
Honeycombs are very common patterns
extensively used in the making of Towels, using coarse
yarns they make a spongy cloth well suited for the
purpose ; they can be made on any number of staves
from four upwards, they are generally made with the
ends drawn in point draft ; assuming that it is required
to make an honeycomb pattern on seven staves put
down the looming as shown at Fig. 98, make the spot
figure 99, and note that the number of filled-in squares
on each side of the spot equals six, or one less than
the number of healds used, make Fig. 100, which is
the outline of Fig. 99 ; arrange the Figs. 99 under the
centre end of the looming as shown at Fig. loi, the
distance from one spot to the other when the same are
repeated equals one, the empty spaces between one
spot and another is now filled in with Fig. 100 as shown
at Fig. 102, which gives the completed pattern repeating
with looming and lifting plan.
Fig. 103 gives a repeated pattern on four staves
with looming and lifting plan-, it is made from the two
small Figures 104 and 105 ; Fig. 106 shows the spots
arranged under the centre ends of the looming. Fig.
103 gives the completed pattern.
flock Lenos or Imitation Gauze are patterns
producing effects somewhat similar to guaze or c-ross
weaving, this is brought about by the threads and picks
30
running together and producing an open or perforated
effect in theclotli, those threads which run together are
placed in one dent, and the imitation is more perfect if
one or two empty dents are missed between one group
of threads and another, but reeded in the ordinary way
two ends in a dent, the effects are very good in using
this weave in combination with others for the ground
or Figure in jacquard woven cloths, the result is a
close imitation of gauze weaving.
Fig. no is an example of mock leno on four
staves, loomed three ends in a dent, the first three
ends in the first dent the next three in the second
dent, or if a dent is missed, in the third dent ; it is
made up from the two small weaves Figs. 107 and 108,
one of which is the reverse of the other, Fig. 107 is
placed on design paper as shown at Fig. log; Fig. 108
is then filled in as shown in the completed pattern
Fig. no which also illustrates the looming and lifting
plan.
Fig. 114 gives a completed pattern on four
staves. Figs, in and 112 the two small weaves from
which it is made, and Fig. 11^ illustrating the first step
for construction, the same as in the previous example,
in Fig. 114 the completed pattern the crosses indicate
the looming, which in actual practice would not be so
good to follow for the loomer and weaver as the looming
given above the same pattern in Fig. 1 1 5 whenever
there is choice of two methods of looming a pattern, it
is advisable to adopt the method which is easiest to
understand ; the lifting plan is shown by the black
squares ; this pattern may be loomed the first four ends
in the first dent, the next four ends in the second dent,
or if a dent is missed in the third dent, if no empty
dents are missed, a coarse reed may be used. Checked
Plate 13.
31
effects plain and mock leno can be made, even if empty
dents are missed, on the checks weaving mock lens the
threads and picks run together in groups, when the
same ends begin to weave plain, the interlacing of the
weft keeps the threads apart, so that no extra large
space appears between one thread and another.
In combination with other Figures it may form
stripes down or diagonal lines across the piece.
Fig. ii6 gives another example with looming
and lifting plan, it is made up from the two weaves Figs.
117 and 118, the blanks in one of these figures
corresponding to the filled in squares of the other
Figure, as pointed out in the construction of the other
examples.
WARP & WEFT CHECKS.— Plate 13.
These cloths are made in a variety of ways,
many of the patterns 1 ;. \'e a twill or a satin basis,
generally the figure of one check is produced by the
warp, the figure on the next check by the weft.
Fig. 1 19 gives a simple pattern on eight staves, on
two of the squares there is a greater proportion of warp
than weft, on other two squares there is a greater
proportion of weft than warp, this will give to the
cloth the appearance of a checked effect, but the
checked effect is more pronounced in a pattern standing
on a greater number of threads and picks. The size of
the check can be increased to almost any reasonable
extent by an alteration in the looming and lifting.
Fig. 120 is a pattern based on the 3-end twill 2 up
and I down, on two of the checks this is the weave ; on the
other two checks the reverse of this 2 down i up, each
check now stands on 9 ends, brought about by going
three times through from front to back on the firs
three staves then three times through from front to
32
back on the next three staves, if the looming is altered
to six times through on the first three staves then six
times through on the next three staves each check will
stand on eighteen ends and picks, so that the number of
times through multiplied by the number of healds used
gives the number of ends and picks each check will
occupy; the black squares in Fig. 120 gives the lifting
plan.
Fig. 121 gives a sample cloth made on ten staves
sometimes known as the "draught board pattern;"
the pattern on design paper is given at Fig. 122, the
crosses indicate the looming and the black squares the
lifting plan.
Fig. 123 is based on the eight-end satin two
checks show a preponderance of warp and two checks
a preponderance of weft, the looming is straight
through on sixteen staves, and the pattern is the
lifting plan.
.Fig. 124 gives a checked effect made from the
four-end satin, each check stands on twelve ends and
twelve picks, brought about by the looming as shown
above the pattern, the black squares give lifting plan
on twenty-four picks.
Fig. 125 is a very common pattern, requiring
sixteen staves the ends drawn in straight draft, the
pattern giving the lifting plan.
In every one of the patterns given it will be
noticed that the filled-in squares of one check come
opposite to blanks of the adjacent check, this com-
pletely separates one check from the other, preventing
the weft of one interfering with the warp of the other.
Fig. 126 gives a check made up from plain and
a small basket weave, eight staves will be required
with the ends drawn in twice through on the first four
Plate 14.
127
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33
staves then twice through on the next four staves, the
lifting plan is the first four ends and the 9th, loth,
nth. and 12th, for sixteen picks to the round.
A great variety of patterns can be obtained by
combining different twills and satin weaves, varying
the size and position of the checks, and departing from
checked effects proper, diagonals, stripes, and small
figured effects can be developed in the same way as
the checks.
WEFT BACK CLOTH— Plate 14.
In these cloths there are two separate wefts and
one warp one weft interlacing with the warp forms the
figure on the face of the cloth, the other weft interlacing
with the warp forms a backing or lining to the cloth, if
two separate counts of yarn are used the back weft
is softer spun than the face weft, if the extra weft is
used for backing only, the manner in which it is bound
to the cloth is generally in satin or some other loose
order, if the extra weft is added to make the cloth a
reversible one, then a firmer interweaving is required ;
the shaded squares give the lifting for the back picks.
Figs. 127, 128, and 129 illustrate the way'in
which a 5 -end satin is backed with weft.
Fig. 127 illustrates an ordinary 5-end satin i up
4 down on each pick, giving a weft face four-fifths of
the weft is thrown to the face and four-fifhs of the warp
is thrown to the back on each pick, the weft will show
on the face and the warp on the back of the cloth ; it
is required to back this cloth with weft so that a
preponderance of weft will show on both sides of the
cloth, it can be done by lifting the healds in this order.
First pick i up 4 down four-fifths of the weft is thrown
to the face.
34
Second pick 4 up i down, four -fifths of the weft is
thrown to the back.
Third pick i up 4 down four-fifths of the weft is thrown
to the face.
Fourth pick 4 up i down four-fifths of the weft is thrown
to the back.
And so on until ten picks have been inserted, by
this means a cloth is obtained which shows weft on both
sides of the cloth ; to enable the weft to cover well on
both sides of the cloth, the picks must overlap, the
number of picks per inch being double to what would be
required for the ordinary 5-end satin.
Fig. 128 illustrates the face weave arranged on
its own picks.
Fig. 129 gives the completed pattern, the solid
red squares indicating the face picks the shaded
squares the back picks.
In placing the patterns on design paper points
must be selected so that the binding points of the back
weft will be covered with the overlaping of the picks of
weft belonging to the face before and after, so as to
prevent the back weft showing on the face ; select the
binding point in the middle of the face weft float if
possible. Also let each thread take part in binding the
back weft to the cloth, if there are two lines of twill in
the face cloth let the binding points follow the weft
twill lines, and let each twill line take its fair share of
the binding.
Fig. 130 is a 7-end twill Fig. 131 shows the same
pattern arranged on each alternate pick Fig. 132 shows
the completed pattern backed with a 7-end twill 6 up
I down. Solid squares indicate face picks shaded
squares back picks.
Fig. 133 is a repeated 4-end twill, Fig. 134
gives the same pattern arranged on each alternate pick,
Plate 15.
35
Fig. 135 the completed pattern backed with an 8-end
satin on a basis of five, missing four threads between
each binding point ; the bindings follow the line of twill.
Fig. 136 is a lo-end twill 5 up 5 down, Fig. 137
gives the same pattern arranged two face picks one back
pick the manner of binding in not exactly in satin or
twill order for the back weft, but it is the best
arrangement for allowing each thread to take its share
in binding, and for the binding points to be covered
with the face weft.
Fig. 138 is the same pattern arranged two face
two back the binding points are not selected in regular
twill or satin order, but in such positions as to be
covered with the face weft, a very soft backing weft
must be used to enable the weft face to cover well.
In all the examples given on this plate the patterns are
the lifting plans with the ends drawn in straight draft.
WARPED BACKED CLOTHS.— Plate 15.
These cloths have a backing of warp in the
same way as weft backed cloths are backed with weft,
the two sides of the cloth may be of different colour or
of different counts of material, there is one kind of weft
interlacing with both the face and back warps, for the
purpose of illustrating the principles of this class of
weaves Figs. 138, 139, and 140 are taken.
Fig. 139 is an eight end warp satin with seven
eighths of the warp floating on the face.
Fig. 140 is an eight end satin with seven eighths
of the warp floating on the back.
Fig. 141 shews Figs. 139 and 140 combined, the
first end of the pattern remains up for seven picks and
down for one, the bulk of the thread is thrown to the
face, the second-end comes up only once out of eight
picks as shown by the shaded squares. The bulk of
36
this thread is thrown to the bacl<. The third thread
shows on the face, the fourth behind and so on all the
way across the piece, one half of the warp is thrown
to the face and the other half to the back of the cloth ;
to enable the weft to lie between the two warps and
be completely covered double the number of threads
per inch are required to what are used in making the
ordinary cloths.
The back warp is generally loosely bound to the
cloth, so that the threads are easily forced behind.
The raising of the back warp is brought up at a
point where the two threads belonging to the face cloth,
situated one on each side are lifted at the same time,
this tends to cover the binding point and prevents the
back warp from showing on the face.
Fig. 142 gives a seven-end twill ; Fig. 143 is the
same pattern placed on design paper ; using each
alternate end; Fig. 144 shows the backing ends filled
in with shaded squares, it will be seen that whenever
a back end is lifted, the threads belonging to the face
cloth and situated on each side of it are lifted at the
same time.
Fig. 145 gives an 8-end pattern showing two lines
of twill ; Fig. 146 is the same pattern arranged on each
alternate end ; Fig. 147 shows the spaces missed in
the first case filled in with backing ends shaded
squares, the binding taking up each line of twill, and
in satin order with a basis of five ; the looming is given
as straight draft, the lifting plan in black squares the
same as the pattern.
Fig. 148 is a small basket weave, and Fig. 149
show the same pattern arranged four face ends two
back ends the shaded squares indicate back ends, the
crosses the looming which is somewhat irregular the
black squares the lifting plan.
Plate 16.
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37
Fig. 150 gives an 8-end twill 4 up 4 down ; Fig.
151 shows the same arranged two face ends one back
end, the pattern repeating in picks ; the shaded
squares give the lifting of the back ends ; this pattern
could with advantage be loomed straight through the
same as Fig. 147 the pattern to be the lifting plan ;
but it is loomed so that the first eight staves weave
the pattern for the face cloth and the back four
staves weave the pattern for the back cloth, the lifting
plan with this looming is given in black squares.
DOUBLE CLOTH— Plate 16.
What is meant by double cloths is two separate
and distinct fabrics woven in the same loom, one
cloth superimposed upon the other, it may be that the
two warps are of different counts or colour of material,
the two wefts the same colours and counts the two
cloths may be connected at each selvege, so as
to make a long bag or tube, or they may be connected
at one selvege only, and when taken out of the loom
the piece opens out to double the width, or the two
cloths may be stitched together in the weaving, by
allowing some threads of the back cloth to interweave
with the face cloth, or some of the threads belonging
to the face cloth interweaving with the back cloth.
To make the matter clear the simplest form of
double cloth weaving will be taken ; four healds are
required, Figs. 153 and 154, these are divided into two
sets, of two healds each, the front two healds weave
the face cloth, the back two healds the back cloth ; the
ends are drawn in —
First end first heald.
Second end third heald.
Third end second heald.
Fourth end fourth heald.
38
Fig. 152 gives the design, the red squares indicate
the pattern weaving a plain face and plain back, the
black squares the lifting plan, crosses the looming ; all
the odd numbered ends as indicated by the letter F are
face ends, all the even numbered ends as indicated by
the letter B are back ends, the letters Fand B opposite
to the picks indicate face and back picks respectively ;
on the first pick Figs. 152 and 153 a face end is lifted,
a face pick put in, the back ends drawn through healds
three and four, and half of the face warp drawn on the
second heald remaining down; second pick Figs. 152
and 154 the whole of the face warp drawn through
healds one and two, also one half of the back warp
drawn on the third heald is lifted and a back pick
inserted ; third pick the second heald is lifted, the
healds carrying the back warp remaining down, another
face pick inserted ; fourth pick the healds one and two
are lifted bringing up the face warp, also the fourth
heald bringing up one half of the back warp, a back
pick put in, and so on repeating.
Fig- 155 gives the same pattern repeated to
eight ends, the odd numbered ends are face ends the
even numbered ends back ends. Fig. 156' gives a
section of the cloth the interlacing lines represent the
four picks of weft the eight numbered circles the eight
warp ends ; commencing with the first pick the arrows
indicate the direction taken by the weft, making a cloth
in the form of a bag secured at each selvege.
In designing for these cloths, place each pattern
for face and back separately on design paper. Fig. 157
gives a pattern for a face cloth. Fig. 158 the pattern for
a back cloth.
Take a piece of design paper, Fig. 159, containing
as many ends and picks as there are in Figs. 157 and
158 taken together, arrange the threads and picks one
Plate 17.
162
163
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39
face one back as indicated by F's and B's, place the
pattern for the face cloth on its own ends and picks in solid
red squares, omitting every back end and back pick Fig 1 59.
Arrange the pattern for the back cloth on its
own ends and picks shaded squares Fig. 160. Lift all the
face ends up on every back pick as indicated by the
crosses, Fig. 161.
The design is now completed, the woven cloth
will be in the form of a bag, closed at each selvege with
Fig. 157 the pattern for the face cloth, and Fig. 158
the pattern for the back cloth ; the ends drawn in
straight draft the pattern is the lifting plan ; the
direction of the twill for the back cloth will run in the
opposite direction to what is shown in Fig. 158.
DOUBLE CLOTHS— (continued). Plate 17.
If a cloth is required to open out to double .:the
width, that is, secured at one selvege only, the
arrangement is then one end face, one end back in the
warp, two picks face two picks back in the weft ; Fig.
162 is the face cloth plain. Fig. 163 the back cloth plain,
each carried to four threads ; Fig. 164 gives the face
cloth arranged on its own ends and picks solid squares ;
Fig. 165 gives the back cloth arranged on its
own ends and picks shaded squares ; Fig. 166 gives
the completed pattern the red crosses indicating face
warp lifted on back picks ; Fig, 167 gives a section of the
cloth the interlacing lines represent the four picks,
commencing with the first pick the arrows indicate the
direction taken ; the numbered circles indicate the
eight warp ends.
Patterns may be arranged one face one back
in ends and picks or two face two back in ends and
picks; Fig. 172 gives an arrangementtwo face two back in
ends and picks ; Fig. 168 is a pattern for the face cloth ;
40
Fig. 169 is a pattern for the back cloth ;
Fig. 170 illustrates the face cloth arranged on its own
ends and picks, solid squares ;
Fig. 171 illustrates the back cloth arranged on its
own ends and picks shaded squares ;
Fig. 172 gives the completed pattern the crosses
indicating face warp lifted on back picks.
When the two cloths have to be bound together
in the weaving due regard must be paid to the two
weaves used for face and back, to prevent one cloth
from taking up more than the other, and producing a
cockling effect where the two cloths are bound together.
two methods are in use to bring about the binding,
one method is to allow some of the face ends to be left
down on a back pick, the other method to lift some of
the back ends on a face pick, the latter method
is here taken to illustrate the examples given.
whenever a back end is lifted in a face pick, it must
be brought up immediately before or after the same
and has been lifted for the back cloth, and in such a
position that there are two face ends belonging to the
face cloth lifted at the same time, one situated on each
side of the back end.
Fig. 173 is the pattern for the face cloth ;
Fig. 174 is the pattern for the back cloth ;
Fig. 175 gives the arrangement for binding ;
Fig. 176 illustrates the completed pattern the
black circles indicating back ends lifted into face picks,
solid red, face cloth ; shaded squares, back ; crosses, face
ends lifted on back picks. In selecting the binding
points, follow the line of twill or figure used for the
face cloth.
Fig. 177 gives an arrangement of one face one
back in ends, two face, two back in picks.
Plate 18.
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41
Fig. 178 is tlie pattern for the face clotli ;
■ Fig. 179 is the pattern for the back cloth ;
Fig. 180 is the pattern for the binding.
Fig. 177 gives the completed pattern each
pattern arranged on its own ends and picks, with face
ends lifted on back picks to produce the double cloths,
and the back ends as shown by the black circles lifted
into the face cloth to stitch the two cloths together.
In all the examples given on this plate if the
ends are drawn in straight draft the pattern is the
lifting plan.
DOUBLE PLAIN CLOTHS— Plate 18.
Stripes, checks, and figured effects can be
produced, which have a plain face and plain back, and
coloured effects can be obtained by using two separate
warps, say red and blue, and two separate wefts of
the same colours. Each colour of weft interweaves
with its own colour of warp, the two cloths changing
places to bring about the pattern desired.
Fig. 181 gives a stripe pattern made in this way,
and which will show on the face of the cteth, a red and
blue plain stripe alternating, the red weft interweaving
with the red warp only, the blue weft interweaving
only with the blue warp ; on the back of the cloth
behind the red stripe the blue weft interweaves
with the blue warp making plain cloth ; and behind
the blue stripe, the red warp and weft are interweaving
making plain cloth, so that cloths of this description
are reversible.
Arrange the patterns on design paper one end
red one end blue, the letters R's and B's indicating the
red and blue ends and picks respectively.
Whenever a red pick is inserted, all the blue
ends are lifted on blue stripe, and when a blue pick is
42
inserted all the red ends are lifted on a red stripe
In the construction of Fig. i8i which is intended
to illustrate the making of a red and blue striped cloth.
Fig. 182 shows each cloth arranged on its own ends
and picks, the red squares indicating the red warp the
blue squares the blue warp.
Fig. 181 shows the completed pattern the red
and blue threads lifted at the proper time ; on the first
pick, a red pick of weft is inserted, and interweaves
with the red ends, the blue ends being lifted on the
blue stripe, the second pick a blue pick is inserted and
interweaves with the blue warp the red ends being
lifted on the red stripe, and so on repeating.
Fig, 183 gives a section of the cloth for four
picks, the interlacing lines indicate the picks, the circles
the different coloured ends.
Fig. 184 illustrates the making of a checked
effect on twenty-four ends and picks.
Fig. 185 gives the different cloths arranged on
their own ends and picks; Fig. 184 is the completed
pattern the blue warp lifted up on a blue square when
a red pick goes in, and the red warp lifted out of the
way on a red square when a blue pick is put in.
Fig. 186 is intended to illustrate the making of
small spot figures alternately placed, to show on the.
face of the cloth a blue plain spot on a red plain ground
on the other side of the cloth a red plain spot on a
blue plain ground.
Fig. 187 shows the pattern arranged on design
paper, the red and blue ends lifted at the proper time.
In the making of these cloths, the front healds
may be loomed to carry one colour of warp the back
healds the other colour of warp, the ends being
alternated in the looming as in Fig. 188 or the ends may
Plate 19.
i
189
190
S^Pic'h
4^Pich
191
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■»■■■■ ~ './.'■■■[■■ ■■■■■■ ■■■■■
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192
193
43
bedistributedover thehealdsas shown in Fig. i8i and
the lifting obtained as shown by the black squares ;
whichever way is adopted the lifting will be obtained
in the usual way from the design and looming combined.
DOUBLE CLOTHS.— Plate 19.
Two, three or four cloths may be made one on
the top of the other in the same loom, and to open out
when woven to two, three, or four times the width, or
the cloths may be stitched together in the weaving
so as to form one solid fabric.
Figs. 189, 190, and 191 illustrate the making of
what is termed a three-ply cloth, three different coloured
warps are used and one kind of weft which interweaves
with each warp in turn, weaving plain cloth ; the colours
are face warp red, middle warp blue, back warp yellow.
Fig. 189 shows the pattern for each cloth placed
on its own ends and picks ; the bottom row of spaces
filled in red, blue, and yellow, for twelve threads
indicate the different coloured ends above them ; the
row of spaces at the side filled in red, blue, and yellow,
yellow, blue, and red for six picks indicate the weft
when it interweaves with the different coloured warp.
Fig. 190 gives the completed pattern obtained by
lifting the face warp (red) when a pick is put into the
middle cloth (blue).
Lifting the face warp (red) and middle warp
(blue) when a pick is put into the back cloth (yellow).
The black crosses indicate the looming straight
draft and the black squares the lifting plan.
Fig. 191 gives a section of the cloth for six picks
the interlacing line represents the weft, the twelve
numbered circles indicate the twelve numbered ends
taken from the pattern Fig. 190, the arrows indicate
44
the direction taken by the weft ; the cloth opens out to
three times the width. The three cloths may be stitched
by lifting a thread belonging to the middle cloth into a
face pick, and lifting a thread belonging to the back
cloth into a middle pick.
Four ply cloth is made in the same way as the
above using four threads instead of three.
Tapestries, Curtains, and Hangings.— These
are constructed on the double cloth principle, using one,
two, or three different coloured wefts and two different
coloured warps.
Fig. 192 is a small all over spot figure made with
two wefts, white and blue, two warps red and yellow,
the different coloured threads and picks are brought up
at the proper time to produce the effect required, the
cloth is reversible showing white beneath the blue, and
blue beneath the white, the warps at these points lying
between the two wefts, beneath the yellow warp is the
red, and beneath the red warp the yellow, the weft at
these points lying between the two warps, to enable
the warp and weft to cover well, the threads weave in
pairs four in a dent, and the weft is double, that is two
threads run together on one pirn, and beaten well into
the cloth.
Fig. 193 is the pattern on design paper to
illustrate the lifting, the ends are one yellow one red
alternating, the picks one white one blue alternating.
Each pick is cut or pegged twice, once for the
white pick and once for the blue.
White pick (la) all the red and yellow ends are
lifted to suit the pattern, only those ends left down
where the white weft is required to float over to suit
the pattern, as shown on the first pick Fig. 192.
Blue pick (ib) all red and yellow ends lifted to
Plate 20.
ig-i-
195
J"° END
Z"" BACK END
/.^.^ END
I 96
199
45
suit the pattern, only those ends left down where the
blue weft is required to float over to suit the pattern
on the second pick Fig. 193 the dots on this pick
indicate ends up to allow blue weft to go under, but
the white picks on each side completely cover up these
threads, so that they do not show through, and the
same on pick one, the lifted threads as shown by the
blue marks are completely covered by the blue picks on
each of them.
DOUBLE CLOTHS.— Plate 20.
Other kinds of fabric such as Piques, figured
and plain, Welts, Quiltings, Toilet Cloths, Bed Covers,
and Matelasses are included under the head of
double cloths, generally two kinds of warp and
two kinds of weft are used in their production,
the figures and patterns are produced in the cloth by
allowing back ends to be lifted for two or three picks
in succession into the face cloth, this stitching in
regular order to suit a given pattern produces an
embossed effect on the face of the cloth, this effect is
more pronounced if two warps are used, the back warp
heavily weighted, and picks of coarse weft termed,
wadding picks inserted at intervals between the two
warps. Piques are cloths having a plain face, the
proportion of face ends to back are two face one back,
dented three ends in one dent, the back end occupying
a position between two face ends in each dent ; the
patterns are shown woven on the least number of
staves, but it wi 1 be advisable to use four instead of
two for the face cloth.
Fig. 194 gives a small pique pattern which forms
a rib across the piece, this class of pattern is much
used in the making of white ties.
46
Fig 195 shows the pattern plain cloth placed on
its own ends, with face ends lifted on wadding picks W.
Fig. 194 gives the completed pattern the black
squares indicating back ends lifted into face picks, the
looming is shown by the crosses, the lifting plan in
black squares, the pattern standing on three staves
eight picks to the round ; the points where the back
ends are brought up into the face cloth, pulls down the
face cloth forming a gut or division across the piece,
separating one rib from another, the two wadding picks
bring up the rib with more effect than would be the
case if none were inserted.
Fig. 196 shows a section of the cloth, the
interlacing lines represent three warp ends and the
circles picks of weft, the first and third ends of
the pattern are taken from Fig. 194 and shown in section
interweaving with the face picks in plain order, the
second end which is a back end is lifted on the first,
second, ninth, and tenth picks, at other times it is
floating at the back of the cloth, and serves to keep
the wadding picks five and six in position, when these
two picks are inserted the face warp is lifted the back
remaining down, the two picks then lie between the
face and back warps.
Fig. 197 gives another ribbed pique, the back
ends in addition to holding the wadding picks in
position interweave with them in this order — first
wadding pick W, all face ends lifted, all back ends
down ; second wadding pick, all face ends and half the
back ends up, this binds the cloth more firmly together
four wadding picks are inserted in every rib, the
arrangements being in picks eight face two wadding
four face two wadding ; sixteen picks to the round
Plate 21.
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47
Sometimes ribs are made down the piece, Fig. 198
gives an example using a one-shuttle loom, one
or two thick ends taking the place of the wadding
picks, these padding ends black squares lie between
the face cloth, which is two and one twill, and the
weft floating behind which holds them in position.
Fig. 199 gives a small diaper figure on the face
of the cloth the arrangement is two face one back in
ends four face two wadding in picks. Fig. 200 shews
the order in which the back ends are brought up into
the face cloth, each thread remaining up for three picks
once for wadding and twice into the face cloth.
In large floral and other patterns of this class
such as toiletings, the binding follows the outline of the
figure, the veining of leaves, the petals of flowers and
other parts where the cloth is required to be pulled in
at the face to produce effect ; the back warp in large
patterns is allowed to interweave in plain order with
the wadding picks, the order being, two fine picks face
two coarse picks, one of which passes between the
two warps for padding, the other interweaves with
back warp forming plain cloth.
DOUBLE CLOTH.— Plate 21.
Fig. 201 gives a small pattern in common
wear arranged two face one back in ends, six face
four wadding in picks the order of binding the back
ends to the face as indicated by the black squares is
the means of pulling the wadding picks out of the
straight line so that they assume a wavy appearance,
the looming and lifting plan is given.
Fig, 20ia shows the pattern for binding, each
back end remaining up for two picks.
Fig. 202 is also another common weave, plain
face, two face one back in ends, four face four
wadding in picks.
Fig. 203 gives the order of lifting of the back
ends into the face cloth, it will be seen as shown by
the black squares in Fig. 202 that the back ends after
being lifted into the face cloth, are also lifted for four
picks when wadding picks go in, this gives to the
wrong side of the cloth a mat effect, the looming and
lifting plan is given above the pattern.
Fig. 204 is a sample of cloth and Fig. 205
illustrates the design on point paper along with the
looming and lifting plan, the red squares face ends
black squares back ends. In getting out the design
from actual samples of cloth of this kind the following
rules will be found useful. Find the proportion of face
ends to back this can be done by counting on the
wrong side of the cloth, the number of back ends per
quarter inch, which is say 10 then pull away the back
ends and wadding picks, count the number of threads
per quarter inch in the face cloth which is say 20 or a
proportion of one to two, that is two face one back in
ends. Find the proportion of face picks to wadding
which is ten face two wadding.
Find the weave for the face cloth (plain).
Find the lifting of the back warp into the face
cloth, this can be done by taking a small part of the
sample the wrong side up and pull out the ends one by
one instead of the picks, noting down on paper with a
filled-in square whenever the back end is taken into
the face cloth, this is shown at Fig. 206 where no note
has been taken of the face ends, this gives eight back
ends in one repeat of the pattern, and allowing for
wadding picks twenty-four picks in one repeat, there are
two face ends for each back, therefore the number of
Plate 22.
s 1 :_:■ 1
raHBT^ t1i '^ rrTT H n H i
ii^Hi~iiUHp~
l,i-L.J. 1 1 1 1
207 1 m 1 1 1 LI 1 1 1 IB 1 1 1 1 u 1 1
208
1 1 1 1 y j u 1 ly H n
209 2 10
2I(
49
ends on which the pattern will stand equal twenty-four,
therefore arrafige the pattern for face cloth on its own
ends lifting face ends on wadding picks, then fill in the
back ends with the order of lifting of the back warp
taken from Fig. 206 and after putting down the looming
an lifting the design is completed Fig. 205.
Matelasses are similar in construction to the
cloths just given but of more elaborate pattern, they
are made generally in silks, woollens, and worsteds for
ladies' jackets and mantles, the face pattern instead of
being plain may be any kind of figuring weave the
arrangement of the ends is two face one back the face
warp being finer than the back, the binding of the
back warp to the cloth takes place all round the figure
along veins of leaves and at other convenient points
where it can be brought up without showing on the
face ; the picks are two fine for face cloth two coarse
one of which passes between face and back warp for
padding, the other interweaves with the back warp in
plain or any other order.
DOUBLE CLOTHS.— Plate 22.
Other varieties of double cloths which take after
the style of quiltings are made by using different colours
and thickness of warp and weft ; in Fig. 207, which
represents a repeating spot figure, the blue spot is
brought up on a dark yellow or orange ground, a very
thick blue warp and weft is used, with a thin dark
yellow or orange warp and weft.
The proportions of warp and weft of the
different colours used are two orange one blue in
ends, two orange one blue in picks, the orange warp
and weft interweave in plain order ; the blue warp
and weft weaves together forming plain cloth. Fig.
50
2o8 shows each warp and weft arranged on their own
ends and picks. Fig. 209 gives the completed design for
one spot only, the blue ends are brought to the face
on each blue pick in the order required for the
production of the pattern ; as the blue warp and weft
is much thicker than the orange warp and weft, it is
brought prominently to the face, the thinner warp and
weft is forced behind and shows on the back of the
cloth. In that part of the cloth where the figure is
developed in blue, the blue warp is brought up on the
blue pick, and the two orange picks situated on each
side of it or five picks in all ; in that part where orange
is required to show; when a blue pick goes in the orange
ends situated on each side of the lifted blue end are
lifted at the same time, this tends to cover the blue
end and show the orange warp and weft. The picking
is as follows : —
Blue pick coarse weft interweaves in plain
order with blue warp, at those points where orange
figure must show, lift orange threads on each side of
lifted blue thread ; orange pick fine weft interweaves
in plain order with orange warp, at parts where blue
must show, lift blue ends on this pick, orange pick
again, then blue picks repeating.
Fig. 210 is another pattern which it is desired to
develope and weave in the colours given, and Fig. 211
gives the same pattern on design paper; the order of
weaving and the bringing up of the different colours of
warp and weft is altogether different to Fig. 209. The
arrangement is two blue one orange in ends, the counts
of yarn of the different colours of warp is about the
same; one blue one orange in picks, the orange weft
is about eight times as coarse as the blue.
The order in which the picks are inserted is this,
Plate 23.
51
when an orange pick goes in all orange warp is lifted on
orange figures, all blue warp lifted on blue figures.
When a blue pick goes in all orange warp is
lifted on blue figures, all blue warp lifted on orange
figures.
This order of weaving gives a very firm well-
knit cloth, the orange warps take up about double the
amount of yarn as the blue warp on account of inter-
weaving with the thick orange weft, so that two
separate beams will be required.
Different colours of warp and wefts may be used,
pale blue and white make effective patterns, and
different designs may be made either geometrical or
floral.
WARP PILE CLOTH Plate 23.
The pile in these cloths is made by the warp
threads, and the cutting takes place in the loom either
by hand in the hand loom or automatically in the
power loom, there are two classes of these cloths, in
one the loops of the pile are cut and form plush or cut
pile, in the other class the pile is left uncut and forms
Terry pile, sometimes a portion of the pile is cut and
another portion uncut, and figured effects are produced
in this way, the contrast between the cut and uncut
pile giving the desired effect ; two warps are used one
for the ground or body of the cloth the other for the
pile warp.
The loops of the pile are formed by inserting a
wire instead of a pick of weft when the pile warp is
lifted, these wires Fig. 212 are of different thickness
according to the length of pile required, they are also
of two kinds, one for the cut pile the other for the loop
pile ; in the hand loom the wires for the cut pile are
provided with a small groove along the upper edge.
52
and after the wire has been woven into the cloth for a
few picks a small sharp knife Fig. 213 termed a Trevette
is run along the groove, cutting the pile and liberating
the wire, the wires for the loop or terry pile are not
cut out but withdrawn leaving the loops intact.
In the power loom the wires for the cut pile are
provided with a small knife, Fig. 214, at one end, and
as the wire is withdrawn it cuts the pile, the wires
for the loop piles are without a knife; about half a
dozen wires are using at the same time, the first one
inserted is the first to be withdrawn, by this means
the pile threads are firmly bound to the cloth before
they are cut.
The arrangement of ground threads to pile
threads are one, two, three, or four ground to one pile
end.
Fig. 215 gives an example, the arrangement is
two ground ends one pile end, ground weave plain,
red indicates the ground weave, and black pile picks
where a wire is inserted instead of a pick of weft,
shaded squares pile warp lifted and weft inserted,
a section'of the cloth is given at the side, the interlacing
line representing one pile thread, the dots the picks ;
opposite to each pile pick it will be seen that loops are
made by the insertion of a wire; in Fig. 216 the same
pattern is given except that the loops are cut, forming
plush ; the pile threads are allowed to issue between
two picks which are in the same shed, these ground
picks are beaten together as closely as the diameter
of the pile threads will allow, and hold the pile warp
firm, and makes the pile when cut stand erect.
Fig. 217 is arranged two ground, one pile, the
same pile threads are not cut on every pile pick, one
half of the pile being lifted on one wire pick and one
Plate 24.
lEiiiiii^
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Ills
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225
227
226
53
half on the next wire pick, sections of cloth are
given at the side illustrating the cut pile picks to which
they are opposite.
Fig. 218 illustrates another example where one
half of the pile is cut the other half left uncut, a
section of the cloth is also given, on the cut pile pick a
wire with a knife is inserted, on the looped pick a wire
without a knife.
Another class of Terry pile used for towelling
is made without the aid of wires, the pile is distributed
more or less equally on both sides of the cloth, two
warps are used one for pile lightly weighted, the other
for ground. Fig. 219 gives a pattern of the cloth and
Fig. 220 a section ; for two picks the reed gives way
leaving these picks about half an inch from the fell
of the cloth, on the third pick the reed is held firm,
beating up the three picks to the fell of the cloth, in
doing this the picks slide on the ground warp but the
pile warp being slack, it is brought forward in loops on
each side of tne cloth Fig. 221.
WEFT PILE CLOTHS.— Plate 24.
Velvets or Velveteens, Figured Velvets, and
Corduroys come under this head, the warp is of strong
material generally two-fold, the weft is finer with a
large number of picks per inch, say from 200 to 400.
The weft floats over three, five, seven or nine threads,
and under one, these are termed pile picks, every
second, third, fourth or fifth pick, the weft interweaves
with the warp in plain or twill order, these are termed
ground picks and give a plain or twill back to the cloth;
the floats of pile weft are cut in the middle by means
of a specially constructed knife, when the brush like
surface is obtained characteristic of these cloths ; these
knives consist of a long bar of steel with a knife edge
54
at one end, the cutting end is covered with a sheath
of sheet iron for a few inches, and secured to the knife,
this sheath passes beneath the floats of weft, and
tightens them, they come in contact with the keen edge
of the knife and are cut asunder, the sheaths are of
different sizes for different lengths of floats, if it be too
small it is liable to pass beneath the floats of the wrong
picks and cut unequal or long and short pile.
Fig. 222 gives an example arranged four pile picks
one ground pick, ground weave plain, black squares
indicate ground picks, red pile picks, the binding of the
pile picks to the cloth is in twill order taking each
alternate end, the order of binding may be satin, but
it would make no difference to the pattern on the face
of the cloth, because the binding points of one pick is
covered up with the floating pile weft of the other picks,
the selection of the binding points in any other order
than twill is done to secure some advantage in more
firmly binding the pile picks to the cloth ; below the
design is given a section of the cloth the dots indicate
threads the interlacing lines the fifth and tenth picks
weaving plain the first pick weaving pile, it will be
seen that the points where the pile weft interweaves
with the warp gives the races for the cutters knife as
shown by the arrow. Fig. 223 gives the same pattern
with pile weft bound in satin order.
Fig. 224 is another example arranged four pile
picks one ground pick, ground weave twill.
In both Fig. 223 and Fig. 224 the pile picks are
held to the cloth by looping under one thread only; in
Fig. 224 the weft of the ground pick will tend to cover
up the underside of the loops of the pile picks, they
will therefore be less liable to fray out on the wrong
Plate 25.
55
side. To make the pile perfectly fast, the pile weft
must interlace with more than one thread at the
binding points ; Fig. 225 gives an example, black ground,
red pile picks, with a section of the cloth below the
design ; the pile will not be so full by this method but
the cloth will wear much better.
Figured Velvets are made by allowing the pile
weft to float on the face where figure is required,
passing to the back at other places. In Fig. 226 black
indicates ground picks red pile picks, the figure at the
edges must go in steps of two, there must be no shorter
float than the weft passing over four threads at the
edges, this is done to provide proper races for the
cutter's knife, and to enable each float to be cut in the
centre so that all the pile will be the same length ;
Fig. 226 is only part of a large figure but sufficient to
show how the patterns are placed on design paper.
Corduroys — These cloths give ribs or cords
down the piece. Fig. 227 is an uncut sample of cloth,
the gut or division which separates each rib is brought
about by the bindings of the pile weft to the cloth.
The pattern with looming and lifting is given at Fig.
228 the black squares give ground weave twill, red
pile picks, the arrangement is two pile one ground pick.
The cutter's knife is inserted under the floats of the
pile weft cutting them in the centre, and giving the
familiar appearance of fustian, the looming and lifting
plan is given as usual.
FIGURING WITH EXTRA WEFT.— Plate 25.
In this class of cloth two wefts are required, one
for the body of the cloth which interweaves with the
warp and forms the pattern for the ground weave, the
other which is generally coloured takes no part in the
56
formation of cloth, but is used for figuring and
ornamentation only, as two or more separate shuttles
must be used according to the number of colours in the
pattern, a changing shuttle box is required.
Fig. 229 is a small spot figure required to be
broughtto the face as an extra weft spot, and to simplify
the matter the filled-in squares both red and black in
these examples are taken to represent weft instead of
warp.
Fig. 230 gives the arrangement of one ground
pick plain, one spot pick, the weft floating over at the
required places to form the spot, then passing to the
back of the cloth, where it floats until required to come
to the face again to suit the pattern ; in placing the
pattern on design paper put down on each alternate
pick the pattern for the ground weave black squares
(plain) then on the picks missed place the pattern for
the extra weft figure, red squares, before and after
forming figure the extra weft interlaces with the warp
in plain order, to prevent the extra weft from fraying
out, after the loose material is cut away from behind,
in small spot figures the same as Fig. 230 it would not
be worth while cutting away the floating picks behind ;
but in examples where the weft is floating behind for
several inches, it is necessary it should be done ;
sometimes the weft is brought up at intervals into the
face cloth at points where it is not liable to show, and
in this way it is bound into the face cloth and the
shearing process is not required. In an ordinary
circular or drop box loom the. shuttle is changed once
every two picks, on account of the changing boxes
being fixed to one side of the slay only, with a single
box at the other ; in Fig. 230 a loom must be used
with boxes on each side of the slay so that changes can
Plate 26.
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57
take place on single picks ; if the pattern is arranged
two ground picks two extra weft picks, then the change
takes place every two picks and an ordinary box loom
can be used, Fig. 231 illustrates a pattern made after
this style. Fig. 232 is a small flower to be brought up
as an extra weft figure.
Fig. 231 shows Fig. 232 arranged in alternate
order, two ground picks, black squares (plain) two
extra weft picks.
In pegging the lattice for small patterns as Fig.
229 the pattern need not be arranged on design paper,
pick for pick, but each alternate pick pegged straight off
for the ground, then go over the lattice again and peg
for the extra spot figure on the picks missed the first
time over, if the pattern is required to show the right
side up in the loom peg the blanks, if the wrong side up
peg the filled-in squares ; in card cutting say for Fig.
231 cut as many cards for the ground as may be
required plain ; number them, then cut the cards for
the figure, which may be placed on design paper, or
two flowers in alternate order, without putting in the
ground weave, number these cards, then lace them in
their proper order with the ground cards so that the
numbers run consecutively.
FIQURINQ WITH EXTRA WARP.
Plates 26, 27, and 28
Two sets of healds are generally used one set
for the body of the cloth, and the other set for the
extra figuring material, the ground weave may be
plain, twill, or any small figuring weave, the extra
figuring ends which are generally coloured are brought
to the face of the cloth for ornamentation only, at other
times they float loosely behind the cloth, and are
58
afterwards cut away, or they may be bound into the
cloth at intervals at points where they will not show
through at the face.
Fig. 233 is a small spot figure arranged in
alternate order, and Fig. 234 give the same spot as an
extra warp tigure on a plain ground ; the arrangement
is one figuring end one ground end, ground weave
plain, the ground ends are drawn on the front staves
(four are used to prevent overcrowding of stitches) the
figuring staves behind ; fourteen staves in all ; the
lifting plan is also given ; the plain ends are drawn two
in one dent, the figuring ends pass through the
respective dents in the reed to which they are opposite,
and which are already occupied by the ground ends,
so that the extra figuring material is cramped in. To
prevent the coloured ends from pulling out when the
loose material is cut off from behind in the finished
cloth, each end is allowed to weave in plain order, just
before and after weaving figure.
Fig- 235 gives another spot figure alternate
arrangement.
Fig. 236 gives a ground weave a wave across the
piece on four staves the ends drawn in point draft.
Fig. 237 gives the pattern Fig. 235 arranged on
the ground weave Fig. 236, the arrangement being two
ground ends one figuring end, the complete pattern
requires twenty staves, eight for each spot the ends in
both drawn in point draft, and four for the ground.
Plate 27. In the making of Dhooty borders extra
warp figuring is largely adopted, the body of the cloth
being plain the borders are ornamented on each side for
varying widths with extra coloured figuring ends. Fig.
238 gives an extra warp figure for a Dhooty border ;
when figures are required to show on both sides of the
Plate 27.
Plate 28.
59
cloth in two different colours Fig. 239 shows the
arrangement, the face and back patterns are shown
alongside Fig. 239.
Figuring with extra warp and extra weft. —
Plate 28 illustrates the making of patterns using extra
warp and extra weft. Fig. 240 is a pattern it is
required to reproduce in the cloth using the colours
shown, the red being extra warp the yellow extra wefts
the ground weave grey (black squares) plain cloth, the
arrangement is one end ground one end extra (red) one
pick ground one pick extra (yellow) ; the pattern on
design paper Fig. 241 shows each end and pick
arranged in its proper place, standing on double the
number of ends and picks to Fig. 240, this is on account
of showing the ground weave in addition to the figures.
Fig. 242 gives another example, space only
allows one figure to be shown ; the same is repeated
showing the ground weave plain in Fig. 243, the
arrangement is one end ground one figuring end one
ground pick one extra weft pick yellow, on the first
five and the last five yellow picks it appears as though
these picks take no part in forming figure, but it must
be taken that these are the extra weft picks for the
other flower which cannot for want of space be shown ;
two flowers are assumed to be arranged in alternate
order the same as the spots in Fig. 240.
In pegging or cutting cards in these examples, if
they are woven the right side up as shown on paper ;
the whole of the ground ends except where extra weft
is floating over must be lifted ; and the extra ends if
required to be up to form figure must be lifted at the
same time. In both Fig. 240 and 241 red equals
floating warp ends and yellow floating weft picks.
6o
GAUZE AND LENOS.— Plate 29.
Cloths under this head have more or less of a
face like character the threads and picks instead of
lying in parallel lines are twisted and pulled out of the
straight course, this is on account of some of the
threads being under the control of two separate healds,
either of which can lift them to the right or the left of
one or more other threads, this twisting of the threads
and stopping twisting is the means whereby the patterns
are produced ; when a crossing takes place for several
picks in succession the picks in that part of the cloth
run together in groups, whilst at other parts of the
cloth these groups may be split up into smaller groups
by the action of other crossing ends, and at another
point the picks may run single on account or
interweaving with the ground warp in plain cloth order
for the production of pattern the douping threads are
sometimes made thick and of various colours ; the
douping threads and the crossed threads interweave
together in the formation of lace, plain, checks and
figured effects ; in the jacquard by this means very
elaborate patterns are obtained. Gauze and leno
patterns make good firm open fabrics, the crossing of
the threads locking the warp and weft together.
In the production of the cloths just enumerated
two separate lots of healds are required, one for the
ground weave, and crossed ends, the other for the
douping or crossing ends, the healds for the ground
ends are of ordinary construction, and the ends to be
crossed and otherwise are drawn through them in the
ordinary way, those ends which are required to be
lifted in two positions, pass beneath the crossed part,
and are drawn through the loose slip of the doup heald
Fig. 244 illustrates the construction of the doup
Plate 29.
^M^f^^/gy
244
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it consists on an ordinary heald A with a loose heald
passing tlirough the eye then over the top, the free
ends being attached to the heald stave C, the doup for
thread passes not through the eye, but through the
loose slip at the point D. Throughout the descriptions
the part B C through which the thread is drawn will
be termed the " loose slip," the loose slip and ordinary
heald A taken together will be termed the "doup."
The slackner, a bar over which the crossing ends
pass, this bar gives way whenever a crossing takes
place. The ends crossed " Net ends."
The ends weaving ground in stripes or otherwise,
plain twill or any other weave, ground ends.
The doup end will be taken as the crossing end.
Fig. 245, 246, and 247 shows the position of all
the parts in the loom for three picks ; H is warp beam
for ends which never lift, G warp for doup ends, F
stationary back rest, E movable back rest, or slackner,
A loose slip, A B doup, C heald for stationary end,
D heald through which the crossing end is drawn in
addition to being drawn through the loose slip of the
doup. J the free end of a lever which is pulled down by
a spring fixed to the floor, at the other end of J is the
slackener bar E over which the douping ends pass.
Fig. 245 shows the drawing in of the ends.
Fig. 246 shows the heald through which the
douping thread is drawn lifted bringing up the loose slip
to the near side or the left of the stationary end drawn
through C.
Fig. 247 show the doup lifted, taking up the
thread on the far or right side of the stationary ends
it will be seen that when this takes place a crossing
takes place in the shed, between the healds B, D, & C,
and to prevent the yarn from breaking, the lever J is
62
lifted allowing the warp to go slack. The loose slip is
connected with a skeleton stave at the top, so that
when the loose slip is to be lifted, it is brought up in the
ordinary way, this takes all strain off the douping
threads.
GAUZE and LENO.— Plate 30.
Two methods of working with doup healds are
in common use, when the loose slip is at the lower side
they are known as "Bottom Doups," and the cloth is
woven with the wrong side at the top ; when the loose
slip is at the upper or top side they are known as "Top
Doups," the right side of the cloth is on the face,
although the former appears to be in general use the
latter possess many advantages, chief of which are :
the cloth is the right side up when weaving, and any
mis-lifting can be easily detected, broken doup healds
are easier to repair; bottom doups will be assumed
unless otherwise stated.
There are two methods of placing the patterns,
along with the looming and lifting plans, on paper ;
one method is to rule lines to represent picks of weft,
other lines at right angles to these represent threads of
warp ; whenever a thread is lifted on any pick the
same is indicated by a dash ; the healds are represented
by lines below the pattern ; the heald upon which any
end is drawn is indicated by a dash ; the lines which
represent the healds are produced to the right, these
are ruled at right angles by lines which represent the
picks in the lifting plan, a dash indicating which healds
are lifted on each pick Fig, 249,
The other method is to use design paper ; filled
in black squares to represent lifting of ground and
crossed ends and coloured squares to indicate the
lifting of douping or crossing ends ; a solid red square
Plate No. 30.
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246
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63
to indicate the lifting of the heald through which the
douping thread is drawn, a shaded red square to
indicate the lifting of the doup Fig. 250. After the pattern
is placed on paper by either system the following rules
must be observed in putting down the looming and
lifting plan.
The slackner is placed behind all the healds ; as
many slackners are required as there are doups.
The crossing end and all the ends crossed are
placed in the same dent.
The doups and loose slips are placed in front of
the ordinary healds ; the slips first.
The healds which carry most threads are placed
nearest the front after the doups.
The healds which carry the crossing ends may
be placed before or behind those carrying the crossed
ends, the former method is here adopted.
Put down the lifting of each heald separately,
omitting the doups, slips, slackners, and healds through
which douping threads are drawn.
Put down the lifting of the healds through which
the douping threads are drawn and lift their slips at the
same time as the heald is lifted.
Put down the lifting of the doups, lifting the
slips and slackners belonging to them at the same time.
Fig. 248 illustrates the making of a simple gauze
pattern the same weave as the example shown on
plate 249 and although two beams are shown in that
case one would be sufficient as each thread, the douping,
and crossed, will be equally pulled out of the straight
line, in Fig. 248 the red end is the douping thread lifted
on every pick, the black thread remaining down in
each pick, the looming is shown below, the lines across
represent staves and slackner, the circles indicate the
64
ends drawn on the staves, the lines at right angles to the
staves represent picks in the lifting plan, the circles
indicate which staves are lifted on each pick, on the
first pick the heald and slip are lifted corresponding
with Fig. 246 on the second pick the doup, slip, and
slackner are lifted, corresponding with Fig. 247.
Fig. 249 shows a quicker way of placing the
pattern on paper.
Fig. 250 gives the example on design paper
showing looming and lifting plan, the red solid squares
indiGating lifting of heald, and shaded squares the lifting
of the doup.
Gauze and Leno. Plates 31, 32 and 33.
A large number of patterns can be made with
one doup, the crossing yarn to come off the same beam
as the ground yarn, care being taken, that the two
weaves take up an equal amount, the illustrations
given on plate 29 can be woven with one beam,
because both threads are pulled out of the straight line
about the same amount, two beams are shown to
illustrate the arrangement when two beams are actually
required.
Fig. 251 shows one end crossing one, the red
end is the doup end and whenever it is lifted its position
is shown, to be over the horizontal lines which represent
the weft, whenever a crossed or ground end is lifted
the same is indicated above the weft. The pattern on
design paper, looming and lifting plan is given at Fig.
252.
Alongside the lifting plan will be found letters
which indicate respectively —
S — slackner. H — healds. D — doup. L S — loose slip
Fig. 253 shows one end crossing one, lifted for
four picks by the heald, then four picks by the doup,
Plate 31.
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the crossed end never lifting ; Fig. 254 shows the same
example on design paper.
Fig. 255 shows one end crossing three, the three
ends weaving in nearly plain order ; Fig, 256 gives
the pattern on design paper.
Fig. 257 gives an example with one doup which
produces a different effect to any yet given, at first
sight it might appear as though two doups would be
required, but by crossing the douping ends one to the
right and the other to the left, it can easily be seen
that one doup will do ; referring to the first two
douping ends on the first and second picks, the heald
lifts and brings up the douping threads apart, on the
seventh and eighth picks the doup lifts, bringing up the
douping ends as near together as possible, and this is
repeated throughout the pattern, the looming and
lifting is given with the same figure ; Fig. 258 shows
the design, looming and lifting on design paper.
Fig. 259 when extended causes the douping end
to form square like figures in the cloth, more especially
if the douping end is a thick coloured one ; one doup is
required, the pattern on design paper with looming and
lifting is given at Fig. 260.
When two or more doups are used a greater
number of patterns can be made, and when a jacquard
with doup harness is employed the patterns producing
scope becomes greater still.
Fig. 261 gives an example with two doups, in the
actual cloth the picks of weft are pulled out of the
straight line and produces a beautiful effect, the looming
and lifting is also given; Fig. 262 shows the same
example on design paper.
Fig. 263 shows a plain check surrounded with
gauze when plain is woven the two crossing ends weave
66
in plain order lifted by the healds, when douping the two
ends are lifted by the doup namely on the nineteenth
and twentieth picks. Fig. 264 illustrates the pattern with
looming and lifting on design paper; two doups are
required.
In actual practice it will not be so easy to make
the cloths as it may appear on paper, the lifting of every
heald and slackner must be timed to suit each other ;
the slackners must be lifted just sufficiently high to let
off the required amount of warp at the time of crossing,
the doup and slip must be kept well together, or the
loose slip will knuckle up into the warp, breaking
yarn, producing bad shedding and rapidly wearing away
the loose slips ; with bottom doups, the doups must be
kept well down a little below the eyes of the ordinary
healds, with top doups they must be a little higher
than the eyes of the rest of the healds.
GAUZE AND LENO— Plates 34 and 35.
Fig. 265 is a sample cloth.
Fig. 266 gives the pattern for one repeat, the
coloured line represents the douping ends, the black
lines ground and crossed ends, four staves are used for
the plain cloth, the looming and lifting plan are also
shown : the portion indicating looming will serve for
instructions to the "Drawer in "or "Loomer," the
ends are two in one dent in the plain, at other parts
where the thick end crosses two they are all placed in
the same dent, at the point where two ends cross
other two there will be four in a dent, the four ends
occupy a space of two dents, therefore three empty
dents are missed at the points shown, it is the duty of
the loomer after drawing all the ends through the
healds and reed, to take out the dents missed, so as to
Plate 34.
Dents
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267
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67
allow the four ends to spread and fill up the space
when they are weaving in plain cloth order.
In analizing the cloth for the pattern the
following hints will be found useful.
Using bottom doups, the pattern is taken from
the wrong side of the cloth, as in this example.
Put down the lifting for the thick crossing end
which is up one with the doup, down two, up one with
the heald or six picks in one repeat.
Put down the lifting of the two douping ends
crossing two, these repeat on eighteen picks, so far all
the douping ends repeat on eighteen picks, the thick
end giving three patterns, then it may be safely
assumed that the crossed ends, and the ground weave
will repeat on eighteen picks, or on some measure of
that number ; the weave for the stripes is plain repeating
on two picks ; pull out the thick end without disturbing
the ends which it crosses, the weave for these will be
found to be one up two down, or six patterns in
eighteen picks ; put down the weave for the two ends
crossed by two, these will be found to be weaving in
nearly plain order repeating on eighteen picks.
For a proper understanding of the cloth it will be
necessary to be able to give instructions to the heald
knitter.
Fig 267 gives the same pattern on design paper,
showing looming, lifting, reeding and Knitters
instructions. The lines below the looming show the
staves, the numbers indicating the number of
stitches to be knit on each and the particular part of the
stave on which they must be knit. As shown in Figs.
267 there are some empty dents ; to be able to find the
number missed, first find the reed in which the cloth is
made, assuming that the ends are drawn in two in one
68
dent throughout ; a 72 reed is used or 36 dents per inch,
the space occupied by one complete pattern is a trifle
under five-eighths of an inch ; therefore the number of
dents for one pattern will equal 36-i-8=4-5 x 5=22-5
for five-eighths of an inch ; as the width of the pattern
is a trifle under this 22 dents are taken ; the number
of dents occupied by the pattern, on account of some
of the ends being drawn three and others four in a dent,
is only nineteen, therefore the difference between 19
and 22 is three which gives the number of dents
to miss in each pattern, as to where these dents are
missed it will depend upon the cloth under examination ;
in the present case it is easy to be seen that where
there are four ends in one dent the space occupied is
equal to two dents, one dent is therefore missed after
each group of four, this accounts for the missed three
dents.
Gauze and Leno — Plate 36.
Top Doups. In working with bottom doups it
has been in all the examples given assumed that the
patterns have been taken from the wrong side of the
cloth, and that the cloth when weaving has been the
wrong side at the top ; in the looming the douping end
passed underneath the crossed ends, with the loose slip
at the bottom, when top doups are used everything is
contrary to this, the loose slip is at the top, and the
doup end passes over the top of the crossed ends Fig.
268 ; the cloth is woven the face side upin the loom. To
enable the lifting plan for either top or bottom doups
to be easily obtained, no difference will be made in
placing the pattern on paper, it will be taken from the
wrong side of the cloth in the usual way.
Fig. 269 gives a simple pattern of one doup end
crossing four the looming and lifting plan is given for
Plate 36.
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69
bottom doups along with it at A ; at B the lifting plan
is given for top doups, the douping end being drawn
over the crossed ends as shown at Fig. 268 the lifting
at B is obtained thus : —
The lifting of every heald, doup, and slip is put
down contrary to A ; the slackner is lifted only when
the doup goes down, Fig. 270 shows the pattern looming
and lifting on design paper, A gives lifting using bottom
doups, B lifting using top doups, it will be seen that the
blank squares of A correspond with the filled-in squares
of B, with the exception of the slackner when they,
are the same, because whenever the doup goes up or
down a crossing in the shed takes place, and the
slackner lets the warp slack.
Enlarged patterns with one doup. One doup
properly manipulated can be made to produce large
patterns, which appear on first inspection as though
many doups would be required ; a crossing can take
place, either by lifting the heald or the doup, it all
depends upon which side of the crossed ends the douping
thread has been weaving on the previous pick, also that
plain cloth can be woven by allowing the doup and
crossed end to weave one up one down on each alternate
picks, or by allowing the crossed end and the heald
through which the douping thread is drawn weave
in plain order, remembering these facts it will be easier
to understand the examples given.
Fig. 271 gives a diagonal line of gauze and plain,
and appears at first sight as though three doups would
be required to weave it, but as the plain is woven with
the douping end in the false positions, and the crossing
takes place through the lifting of the heald, one doup
only is required, asshownbytheloomingandlifting plan
given, Fig. 272 shows the same example on design paper.
JO
Fig- 273 gives waves of gauze and plain across
tlie piece, using one doup, tine looming and lifting plan
is shown ; Fig 274 which gives the same example on
design paper.
When using one doup for patterns of this
description, the doup heald is lifted on every other pick,
so that not more than one pick can be inserted between
each crossing ; the threads work in pairs, one thread
crossing one, so that not very elaborate patterns can be
produced by this method ; warp spot figures surrounded
with plain and gauze can be made by allowing the warp
to be lifted by the healds on those picks where the
warp is required to float, although the doup goes down
on each alternate picks, if the heald is lifted the douping
end will be left up on that pick.
GAUZE & LENO— Plate 37.
One or more douping threads may be made to
cross other threads which are weaving gauze. Fig. 275
gives an example where one thread crosses another
thread which never lifts, these two threads are crossed
by another douping thread; two doups and two slackners
are required, the looming and lifting plan is given; these
patterns are more effective if thick coloured yarn is
used for the outside crossing end ; owing to extra wear
and tear stronger yarn, say two fold of some counts
must be used in all the ends ; the pattern with looming
and lifting is shown at Fig. 762. Lappet effects may be
obtained on a limited scale by the use of two doups to
work one end, the crossed ends must be good yarn
and the douping end, thick, or coloured, or both. Fig. 277
gives an example, where one end is crossing eight
which are weaving in plain order throughout, the
whole of these threads along with the douping end are
Plate 37.
71
placed in the same dent two or three dents may be
taken out to give more room, allowing the threads to
spread, and occupy a greater space, the cloth is woven
the wrong side up, to the lifting plan given ; when the
first doup lifts the douping end is brought up on the
extreme right, when the second doup is lifted the end
is brought up in the middle of the 8-ends, when the
heald lifts the end is brought up on the extreme left
only one slackner is required which gives way,
whenever the douping end is lifted by either the first
or second doup.
Fig. 278 gives a lappet effect with one doup,
one thick coloured end passes over i6-ends which are
weaving plain cloth, about six or seven dents are taken
out so as to allow the ends to spread.
Catgut. This is the name given by Murphy to
distinguish this kind of crossing from ordinary gauze,
the douping end receives half a twist more between
each pick of weft, than it does in gauze weaving ; Fig.
279 gives an example, the coloured end representing
the douping thread ; the loose slip, L.S. passes over X.
and O. then underneath O, the end X is then drawn
through the free end of the sfip ; the open shed is
formed for the insertions of pick number one by lifting
the thread X by the heald A ; the standard C, the loose
slip, and the heald B along with the thread O remaining
down, as shown at Fig. 280 ; the crossed shed for the
insertion of pick number two is formed by lifting both
the threads X and O by the healds A and B ; whilst
this is taking place the standard C and loose slip are
held tight and taken down, the loose slip pulls thread
X underneath, over the top of it and finally brings
down the thread X into the lower shed on the left of
O ; the slackner is lifted on this pick ; these two
72
picks give one repeat of the pattern, a third picl< is
shown it will be seen to be a repeat of the first one.
Very strong yarns are required as there is a good deal
of friction by this method of crossing ; it is not
extensively used, and then not generally more than
one thread crossing another one, the same as in the
example given, the effect obtained is very pleasing,
especially when two threads of different colours are
used.
LAPPET WEAVING.— Plate 38.
This kind of weaving consists of the ornamentation
of a fabric by means of extra warp threads as
shown at Fig. 281 where the ground weave is plain
cloth, and a thick coloured end is forming figure on the
surface, the weft on each pick interweaving with the
coloured ends and binding it to the cloth. The
mechanism required for the manipulation of the figuring
end, consists of a series of needles fixed to a moveable
frame, which slides through a distance equal to the
breath of the figure woven, the needles are lifted into
the warp in front of the reed, when a shed is formed,
carrying the extra figuring ends along with them, the
shuttle passes across, the needle frame descends out of
the way to allow for beating up with the reed, and the
figuring ends are bound into the cloth ; the distance
through which the needle frame can slide to the right
or left on each pick is controlled in a variety of ways ;
one method is to employ a wheel made up of teeth of
different heights, the face of the teeth are of sufficient
width that a short lever in the form of a feeler can rest
on the face of a tooth, or in the spaces between one
tooth and another the feeler is moved in or out
according to the varying heights of each tooth, this
motion is communicated to the needle frame.
Plate 38.
73
Fig. 282 shows a pattern on design paper Fig.
281 showing the same pattern in the cloth ; in Fig. 282
the pattern stands on sixteen picks, but each pick on
design paper requires two picks in the cloth as will be
clearly seen in Fig. 281 ; Fig. 283 shows the drawing
of a lappet wheel to suit pattern, the perphery of the
wheel is ruled into as many lines i to 32 as there are
picks in the pattern, or double the number to what
there are picks when the pattern is on design paper,
these lines are ruled at right angles by other lines,
which are distance apart equal to one thread, the thick
line shows the varying depth of each tooth ; taking the
pattern from Fig. 281 commencing at A in each case
and ending at B, the thick line of Fig. 283 will be found
to follow the coloured end of Fig. 281, when the first
pick of weft goes in the needles are lifted into the
shed four threads from the right on the second pick two
threads from the right and so on, the different heights
and depths of the teeth controlling the movement of the
needle frame.
In what is known as the Scotch lappet the
distance through which the needle frame can move is
regulated by means of a groove cut out of the face of a
wood wheel, a pin or feeler attached to the needle
frame works in this groove from side to side as the
wheel revolves one tooth for two picks, the varying widths
of the groove determines the distance through which
the frame can move. Fig. 284 shows the construction
of a lappet wheel to the pattern Fig. 285 which consists
of 15 picks on design paper but will occupy 30 picks in
the cloth ; divide the wheel into as many teeth as there
are picks in the pattern on design paper — namely, 15,
Fig. 284, mark on the face of the wheel as many spaces
as there are ends in the pattern plus two for the pin
74
working in the groove, the distance these spaces are
apart equals one thread ; each tooth serves for two
picks of weft ; commencing with the pin P on the left
side of the groove, the width of the groove at this point
is six spaces wide, four for the pattern and two for the
pin, after the first pick the pin moves to the right of the
groove, the needle frame ascends into the shed, and
the second pick is put in, the wheel then turns one tooth,
the pin moves to the left of the groove, the width at this
point being nine space wide, seven for the pattern and
two for the pin, the odd numbers on the outer edge
of the wheel, and the even number near the centre
of the wheel represent the position that the pin will
occupy in the groove when the respective picks are put
into the cloth.
During the past few years a good deal of attention
has been directed towards lappet motions, and the
tendency seems to be to work the needle frame by
means of lags and pegs, one contrivance is to have
pegs of different heights lifting levers, which in their
turn transfer the motion to the needle frame. Another
method is to have the pegs all the same height, but to
lift levers at different distances from the fulcrum, the
distances through which the levers move is conveyed
to the needle frame.
The advantages of figuring with extra warp in a
lappet loom over extra warp figuring by means of healds is
that in the last named method, a good deal of waste
material has to be cut away from the back of the cloth ;
whilst in lappet weaving there is none of the extra
figuring ends floating loosely behind, they form figure
during the whole time.
Plate 39.
286
75
SWIVEL WEAVING.— Plate 39.
The object of swivel weaving is to produce
extra weft figures on the face of the cloth ; when
dealing with extra weft figuring using an ordinary
shuttle in a box loom, it was clearly shown how the
patterns must be placed on design paper, the weft
floating at intervals on the face of the cloth forming
figure, then passing to the underside and remaining
there until required for figuring purposes again, by this
method it will be seen that quite as much material
must be cut away from the underside of the cloth as
there is used. in swivel weaving there is practically
no waste, the whole of the extra weft forming pattern ;
in addition to the ground shuttle there is attached to
the slay cap a number of small shuttles about 4 long
o / tl
78 deep, these can be lowered into the shed, moved to
and fro by means of a rack and pinion ; when the
ordinary shuttle is in use the swivel shuttles are lifted
out of the way by means of the jacquard or hand
contrivance in hand looms, and tappet arrangement in
power looms. After a shed has been made for the
ground pick and the same has been inserted, another
shed is made for the extra figuring weft, the swivel
shuttles are lowered and pass beneath the lifted ends
only, if there are two ground picks two swivel picks,
another extra weft shed will be made, the shuttles
lowered passed beneath the raised ends back to their
first position, each shuttle is kept to its own figure, and
in each case the same is developed in more than one
colour as in Fig. 286 there is two tiers of shuttles one
above the other, and each shuttle is used as desired to
suit the colours in the pattern.
In designing for these cloths the position of each
swivel figure must be noted, Fig. 282 gives about the
76
actual distances the figures are apart ; when closer set
figures are made, a different kind of shuttle in the shape
of a small horse shoe is used, this carries a small spool
of extra weft, the ends under which the extra weft is
required to pass are lifted into the open position of the
shoe, which then receives a complete turn round
carrying the extra weft beneath the raised threads.
The pattern for the ground weave is painted up on
design paper, the patterns for the extra weft figure
may be painted on the same or a separate sheet in
another colour, the two patterns are then each cut
separately in the ordinary way ; if the arrangement is
one ground pick one swivel pick the cards are laced
together one ground one extra weft, if there is two
ground picks two swivel picks, lace the cards in the
same order.
Sometimes the ground weave is of a floral
character, the foliage developed in ground warp and
weft, the flowers as extra weft figures ; the flowers
may be painted a different colour to the ground and
the design gone over twice in the cutting, once for the
ground weft, next for the extra weft picks.
PATTERNS FROM SKETCHES.— Plate 40.
Sometimes the patterns instead of being given in
the cloth or on design paper, are given in the form of a
sketch the same as shown in Fig. 287, when it is
desired to obtain the same effect using eight staves,
the pattern on design paper is given in Fig. 288.
Fig. 289 is another example to be made on
sixteen staves and thirty-two picks, Fig. 290 gives the
pattern on design paper.
Fig. 291 is a small spot figure to be made on ten
staves, the complete pattern stands on eighteen ends
Plate 40.
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298
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n
and eighteen picks, the ends are drawn in point draft,
the first ten ends of the pattern for eighteen picks gives
the lifting plan Fig. 292.
Fig. 293 is a leno pattern requiring one doup to
weave it, it is made up of plain, twill and leno effects,
the drawn out pattern is given at Fig. 294 showing
looming and lifting plan, four healds are used to weave
the plain ; the pattern is carried out to twenty-four
picks, but it repeats on twelve.
HEALD KNITTERS INSTRUCTIONS.— Plate 41.
When plain, regular twills or sateens are woven,
the knitter's instructions are very simple, below is
given a copy of an order sheet sent out by a well-known
firm of heald knitters, the same is filled in for one set
of plain also one set of sateen healds.
Sets.
Shafts.
Ends
Width
Counts
Top
Bottom
Inches
per inch
of
Healds
in inch.
Healds
per Set
of Twist
to weave
Stave
Stave.
deep.
4
60
34
4
32
36
35
II
5
96
34
5
50
35
II
It is usually quite sufficient to give the counts of
yarn the healds are to weave, and from experience
the knitter knows, from what kind of yarn the healds
must be knit, in case there is any doubt then for
weaving about 32s. twist the heald yarn is either
12-fold 40s. or 16-fold 80s. ; to weave about 50s. or
60s. twist the heald yarn is either 12-fold 50s. or 16-fold
80s. In Burnley, Nelson, Colne, and Accrington
district where cop yarn is used for warp —
12-fold 40s. heald yarn is used for about 32s. twist.
12-fold 50s. heald yarn is used for about 50s. and 60s.
twist.
78
If the looming is a regular one as in point draft
Fig. 295 itisgenerally quite sufficient to give the looming,
and the reed to be used with the number of ends in
one dent. Using spaced healds Fig. 296 the instructions
are given in Fig. 297 the lines representing the staves,
the numbers the number and position of the stitches on
the respective staves. Fig, 298 gives looming for a
plain and satin stripe the satin is drawn 4-ends through
one dent the plain two ends in, one dent, knitters
instructions are given in Fig. 299.
Fig. 300 is the looming for an extra warp figure
on a plain ground, the looming can be easily followed
by the knitter in making the healds, the ends are
drawn two ends in one dent throughout.
Fig. 301 is the looming for a pique made with
80 face threads per inch, the ends three in one
dent throughout, using four healds for the plain ;
a set of plain healds suitable for a 80-reed is required ;
the face and back ends repeat on every 24 ends, giving
5 repeats of back and 5 repeats of face ends, and as an
80-reed is used 3 ends in a dent, it equals a40-reed one
end in a dent for the back healds, the back 5 healds
are therefore knit to the looming given to suit a 40-reed.
Fig. 302 gives a very broken looming on fifteen
staves. Fig. 303 shows knitters instructions. -
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